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THE DOUBLE-DEALER
A COMEDY
Interdum tamen et vocem Comœdia tollit.—Hor. Ar. Po.
Sometimes, though, Comedy raises her voice.—Hor. Ar. Po.
Huic equidem consilio palmam do: hic me magnifice
effero, qui vim tantam in me et potestatem habeam
tantæ astutiæ, vera dicendo ut eos ambos fallam.I fully support this plan: here I confidently
declare, that I possess such strength and power
and such cleverness, that by speaking the truth, I can trick both of them.Syr. in Terent. Heaut.
Syr. in Terent. Heaut.
TO THE
RIGHT HONOURABLE CHARLES MONTAGUE,
ONE OF THE LORDS OF THE TREASURY.
Sir,—I heartily wish this play were as perfect as I intended it, that it might be more worthy your acceptance, and that my dedication of it to you might be more becoming that honour and esteem which I, with everybody who is so fortunate as to know you, have for you. It had your countenance when yet unknown; and now it is made public, it wants your protection.
Sir,—I truly wish this play were as perfect as I intended, so it would be more worthy of your acceptance, and my dedication to you would better match the honor and respect I, along with everyone fortunate enough to know you, have for you. It had your support when it was still unknown; and now that it’s public, it needs your protection.
I would not have anybody imagine that I think this play without its faults, for I am conscious of several. I confess I designed (whatever vanity or ambition occasioned that design) to have written a true and regular comedy, but I found it an undertaking which put me in mind of Sudet multum, frustraque laboret ausus idem. And now, to make amends for the vanity of such a design, I do confess both the attempt and the imperfect performance. Yet I must take the boldness to say I have not miscarried in the whole, for the mechanical part of it is regular. That I may say with as little vanity as a builder may say he has built a house according to the model laid down before him, or a gardener that he has set his flowers in a knot of such or such a figure. I designed the moral first, and to that moral I invented the fable, and do not know that I have borrowed one hint of it anywhere. I made the plot as strong as I could because it was single, and I made it single because I would avoid confusion, and was resolved to preserve the three unities of the drama. Sir, this discourse is very impertinent to you, whose judgment much better can discern the faults than I can excuse them; and whose good nature, like that of a lover, will find out those hidden beauties (if there are any such) which it would be great immodesty for me to discover. I think I don’t speak improperly when I call you a lover of poetry; for it is very well known she has been a very kind mistress to you: she has not denied you the last favour, and she has been fruitful to you in a most beautiful issue. If I break off abruptly here, I hope everybody will understand that it is to avoid a commendation which, as it is your due, would be most easy for me to pay, and too troublesome for you to receive.
I wouldn't want anyone to think I believe this play is without its flaws, as I'm aware of several. I admit that I aimed (no matter what vanity or ambition drove that aim) to write a true and proper comedy, but I found it to be a challenge that reminded me of Sudet multum, frustraque laboret ausus idem. Now, to atone for the vanity of such an ambition, I confess both the effort and the imperfect outcome. However, I must boldly say that I haven’t completely failed, since the basic structure is sound. I can assert that with as little vanity as a builder might say he has constructed a house according to the plan laid out before him, or as a gardener might say he has arranged his flowers in a specific design. I focused on the moral first, and from that moral, I crafted the storyline, not knowing that I borrowed any hint of it from anywhere. I made the plot as strong as I could because it was straightforward, and I kept it simple to avoid confusion, resolutely maintaining the three unities of drama. Sir, this discussion is quite irrelevant to you, whose judgment is far better at spotting the flaws than I am at justifying them; and whose good nature, like that of a lover, will uncover those hidden beauties (if there are any) that it would be incredibly inappropriate for me to point out. I don't think it's wrong to call you a lover of poetry; it's well known that she has been very generous to you: she hasn’t denied you her final favor, and she has gifted you with the most beautiful results. If I suddenly stop here, I hope everyone understands that it's to avoid praising you, which, while it is well-deserved, would be easy for me to give and quite awkward for you to accept.
I have since the acting of this play harkened after the objections which have been made to it, for I was conscious where a true critic might have put me upon my defence. I was prepared for the attack, and am pretty confident I could have vindicated some parts and excused others; and where there were any plain miscarriages, I would most ingenuously have confessed ’em. But I have not heard anything said sufficient to provoke an answer. That which looks most like an objection does not relate in particular to this play, but to all or most that ever have been written, and that is soliloquy. Therefore I will answer it, not only for my own sake, but to save others the trouble, to whom it may hereafter be objected.
Since performing this play, I've been attentive to the criticisms it's received, aware that a true critic could have put me on the defensive. I was ready for the criticism and feel confident I could have defended some parts and justified others; and where there were clear mistakes, I would have honestly admitted them. However, I haven't heard anything significant enough to warrant a response. What seems most like a criticism doesn't specifically target this play, but rather applies to almost all plays ever written, and that is the use of soliloquy. So, I will address it, not just for my benefit, but to spare others the trouble of responding to the same concern in the future.
I grant that for a man to talk to himself appears absurd and unnatural, and indeed it is so in most cases; but the circumstances which may attend the occasion make great alteration. It oftentimes happens to a man to have designs which require him to himself, and in their nature cannot admit of a confidant. Such for certain is all villainy, and other less mischievous intentions may be very improper to be communicated to a second person. In such a case, therefore, the audience must observe whether the person upon the stage takes any notice of them at all or no. For if he supposes any one to be by when he talks to himself, it is monstrous and ridiculous to the last degree. Nay, not only in this case, but in any part of a play, if there is expressed any knowledge of an audience, it is insufferable. But otherwise, when a man in soliloquy reasons with himself, and pro’s and con’s, and weighs all his designs, we ought not to imagine that this man either talks to us or to himself; he is only thinking, and thinking such matter as were inexcusable folly in him to speak. But because we are concealed spectators of the plot in agitation, and the poet finds it necessary to let us know the whole mystery of his contrivance, he is willing to inform us of this person’s thoughts; and to that end is forced to make use of the expedient of speech, no other better way being yet invented for the communication of thought.
I agree that it seems ridiculous and unnatural for someone to talk to himself, and in most situations, it is. However, the circumstances surrounding the situation can make a big difference. Often, a person has plans that need to be kept secret and can’t be shared with anyone. This is definitely true for all forms of wrongdoing, and even less harmful intentions might not be suitable to discuss with another person. In such cases, the audience should pay attention to whether the character on stage acknowledges them or not. If the character thinks someone is present while he talks to himself, it becomes completely absurd. In fact, this applies not just here, but throughout any play; if there's any indication that a character knows there's an audience, it's utterly unacceptable. However, when a person is in a soliloquy, reasoning with himself and weighing his options, we shouldn't think he’s either talking to us or to himself; he’s simply thinking, considering things he wouldn’t dare say aloud. But since we are hidden spectators to the unfolding plot, and the playwright needs us to understand the full scope of his creative work, he chooses to reveal this character’s thoughts; and to do that, he has to resort to speech, as no better way has been developed yet to convey thoughts.
Another very wrong objection has been made by some who have not taken leisure to distinguish the characters. The hero of the play, as they are pleased to call him (meaning Mellefont), is a gull, and made a fool, and cheated. Is every man a gull and a fool that is deceived? At that rate I’m afraid the two classes of men will be reduced to one, and the knaves themselves be at a loss to justify their title. But if an open-hearted honest man, who has an entire confidence in one whom he takes to be his friend, and whom he has obliged to be so, and who, to confirm him in his opinion, in all appearance and upon several trials has been so: if this man be deceived by the treachery of the other, must he of necessity commence fool immediately, only because the other has proved a villain? Ay, but there was caution given to Mellefont in the first act by his friend Careless. Of what nature was that caution? Only to give the audience some light into the character of Maskwell before his appearance, and not to convince Mellefont of his treachery; for that was more than Careless was then able to do: he never knew Maskwell guilty of any villainy; he was only a sort of man which he did not like. As for his suspecting his familiarity with my Lady Touchwood, let ’em examine the answer that Mellefont makes him, and compare it with the conduct of Maskwell’s character through the play.
Another wrong objection has been raised by some who haven’t taken the time to differentiate the characters. The hero of the play, as they like to call him (meaning Mellefont), is a fool and has been deceived. Does that mean every man who is tricked is a fool? At that rate, I’m afraid the two groups of men would merge into one, and even the tricksters would struggle to justify their title. But if an honest man, who fully trusts someone he believes is his friend, and who he has done favors for, and who has, in all appearances and several tests, acted as a friend—if this man is deceived by the other’s betrayal, must he immediately be labeled a fool just because the other turned out to be a villain? Yes, but Mellefont was warned by his friend Careless in the first act. What was that warning? It was simply to give the audience some insight into Maskwell's character before he appeared, not to convince Mellefont of Maskwell's betrayal; at that point, Careless couldn’t do that—he never knew Maskwell to be guilty of any wrongdoing; he just didn’t like the type of person Maskwell was. As for suspecting his closeness with Lady Touchwood, let’s look at Mellefont's response to Careless and compare it with Maskwell's actions throughout the play.
I would beg ’em again to look into the character of Maskwell before they accuse Mellefont of weakness for being deceived by him. For upon summing up the enquiry into this objection, it may be found they have mistaken cunning in one character for folly in another.
I would urge them again to examine Maskwell's character before they blame Mellefont for being weak because he's been tricked by him. Because after looking into this objection, it might turn out that they've confused cleverness in one person for foolishness in another.
But there is one thing at which I am more concerned than all the false criticisms that are made upon me, and that is, some of the ladies are offended. I am heartily sorry for it, for I declare I would rather disoblige all the critics in the world than one of the fair sex. They are concerned that I have represented some women vicious and affected. How can I help it? It is the business of a comic poet to paint the vices and follies of humankind; and there are but two sexes, male and female, men and women, which have a title to humanity, and if I leave one half of them out, the work will be imperfect. I should be very glad of an opportunity to make my compliment to those ladies who are offended; but they can no more expect it in a comedy than to be tickled by a surgeon when he’s letting ’em blood. They who are virtuous or discreet should not be offended, for such characters as these distinguish them, and make their beauties more shining and observed; and they who are of the other kind may nevertheless pass for such, by seeming not to be displeased or touched with the satire of this comedy. Thus have they also wrongfully accused me of doing them a prejudice, when I have in reality done them a service.
But there’s one thing that concerns me more than all the false criticisms aimed at me, and that’s the fact that some of the women are upset. I genuinely feel bad about it because I’d rather upset all the critics in the world than one of the fairer sex. They’re upset that I’ve portrayed some women as flawed and pretentious. How can I avoid that? It’s the job of a comedic poet to showcase the vices and foolishness of humanity; and there are only two genders, male and female, men and women, who qualify as human beings. If I leave out one half, the work would be incomplete. I would love the chance to compliment the women who are offended, but they can’t expect that in a comedy any more than they could expect to be soothed by a surgeon while he’s drawing blood. Those who are virtuous or sensible shouldn’t be offended since such traits make them stand out even more beautifully. And those of the other sort can still be seen as respectable by simply not reacting negatively to the satire in this comedy. Thus, they have mistakenly accused me of harming them when, in reality, I’ve done them a service.
You will pardon me, sir, for the freedom I take of making answers to other people in an epistle which ought wholly to be sacred to you; but since I intend the play to be so too, I hope I may take the more liberty of justifying it where it is in the right.
You’ll forgive me, sir, for the liberty I’m taking by responding to others in a letter that should be entirely for you. However, since I intend the play to be just as important, I hope you'll allow me to defend it where it deserves support.
I must now, sir, declare to the world how kind you have been to my endeavours; for in regard of what was well meant, you have excused what was ill performed. I beg you would continue the same method in your acceptance of this dedication. I know no other way of making a return to that humanity you shewed, in protecting an infant, but by enrolling it in your service, now that it is of age and come into the world. Therefore be pleased to accept of this as an acknowledgment of the favour you have shewn me, and an earnest of the real service and gratitude of,
I must now, sir, tell the world how kind you’ve been to my efforts; because, in terms of what was well-intentioned, you’ve overlooked what was poorly done. I ask that you continue this same approach in accepting this dedication. I see no other way to repay the kindness you showed in supporting something new than by bringing it into your service now that it has matured and entered the world. So please accept this as a token of gratitude for the favor you have shown me, and as a genuine testament to my service and appreciation,
Sir, your most obliged, humble servant,
Sir, your most grateful, humble servant,
WILLIAM CONGREVE.
William Congreve.
TO MY DEAR FRIEND MR. CONGREVE,
ON HIS COMEDY CALLED
THE DOUBLE-DEALER.
Well then, the promised hour is come at last;
The present age of wit obscures the past.
Strong were our sires; and as they fought they writ,
Conqu’ring with force of arms and dint of wit.
Theirs was the giant race, before the flood;
And thus, when Charles returned, our empire stood.
Like Janus he the stubborn soil manured,
With rules of husbandry the rankness cured,
Tamed us to manners, when the stage was rude,
And boist’rous English wit with art indued.
Our age was cultivated thus at length;
But what we gained in skill we lost in strength.
Our builders were with want of genius curst;
The second temple was not like the first:
Till you, the best Vitruvius, come at length,
Our beauties equal, but excel our strength.
Firm Doric pillars found your solid base,
The fair Corinthian crowns the higher space;
Thus all below is strength, and all above is grace.
In easy dialogue is Fletcher’s praise:
He moved the mind, but had no power to raise.
Great Johnson did by strength of judgment please
Yet doubling Fletcher’s force, he wants ease.
In diff’ring talents both adorned their age;
One for the study, t’other for the stage.
But both to Congreve justly shall submit,
One matched in judgment, both o’er-matched in wit.
In him all beauties of this age we see,
Etherege his courtship, Southern’s purity,
The satire, wit, and strength of manly Wycherly.
All this in blooming youth you have achieved,
Nor are your foiled contemporaries grieved;
So much the sweetness of your manners move,
We cannot envy you, because we love.
Fabius might joy in Scipio, when he saw
A beardless consul made against the law,
And join his suffrage to the votes of Rome;
Though he with Hannibal was overcome.
Thus old Romano bowed to Raphael’s fame,
And scholar to the youth he taught became.
Well then, the promised hour has finally arrived;
The current age of wit overshadows the past.
Our ancestors were strong, and as they fought they wrote,
Winning with strength of arms and cleverness.
They were a giant race, before the flood;
And so, when Charles returned, our empire stood.
Like Janus, he tended to the stubborn land,
With farming rules, he improved its richness,
Civilized us when the stage was rough,
And infused boisterous English wit with art.
Our age was cultivated in this way at last;
But what we gained in skill, we lost in strength.
Our builders lacked the genius they needed;
The second temple was not like the first:
Until you, the greatest Vitruvius, arrived,
Our beauties matched, but exceeded in strength.
Solid Doric pillars form your strong base,
The elegant Corinthian crowns the top;
Thus all below is strength, and all above is grace.
In easy dialogue, Fletcher’s praise is found:
He engaged the mind, but lacked the power to uplift.
Great Johnson pleased with the strength of his judgment,
Yet doubling Fletcher’s force, he lacked ease.
In different talents, both adorned their time;
One for the study, the other for the stage.
But both must rightly defer to Congreve,
One matched in judgment, both outmatched in wit.
In him, all the beauties of this age are seen;
Etherege's courtship, Southern's purity,
The satire, wit, and strength of manly Wycherly.
All this in your blooming youth you’ve achieved,
Nor are your defeated contemporaries upset;
So much the sweetness of your nature moves,
We cannot envy you, because we love.
Fabius might rejoice in Scipio, when he saw
A young consul appointed against the law,
And join his support with the votes of Rome;
Even though he was defeated by Hannibal.
Thus old Romano bowed to Raphael’s fame,
And the student became a disciple of the youth he taught.
O that your brows my laurel had sustained,
Well had I been deposed if you had reigned!
The father had descended for the son,
For only you are lineal to the throne.
Thus when the state one Edward did depose,
A greater Edward in his room arose.
But now, not I, but poetry is cursed;
For Tom the Second reigns like Tom the First.
But let ’em not mistake my patron’s part,
Nor call his charity their own desert.
Yet this I prophesy: Thou shalt be seen
(Though with some short parenthesis between)
High on the throne of wit; and seated there,
Not mine (that’s little) but thy laurel wear.
Thy first attempt an early promise made;
That early promise this has more than paid.
So bold, yet so judiciously you dare,
That your least praise is to be regular.
Time, place, and action may with pains be wrought,
But genius must be born, and never can be taught.
This is your portion, this your native store,
Heav’n, that but once was prodigal before,
To Shakespeare gave as much; she could not give him more.
Oh, if only your brows had worn my laurel,
I would have been overthrown if you had ruled!
A father would give way for his son,
Because only you are rightful to the throne.
So when one Edward was deposed,
A greater Edward took his place.
But now, it's not me that's cursed, but poetry;
For Tom the Second rules just like Tom the First.
But let them not confuse my patron's role,
Or think his kindness is their own achievement.
Yet this I predict: You will be seen
(Though with a short break in between)
High on the throne of wit; and there,
Not my (that’s small) but your laurel will you wear.
Your first attempt showed early promise;
That early promise has more than been fulfilled.
So bold, yet you dare with such wisdom,
That your least praise is just being consistent.
Time, place, and action can be crafted with effort,
But genius must be innate and can never be taught.
This is your gift, this is your natural talent,
Heaven, that was once generous before,
Gave as much to Shakespeare; she couldn't give him more.
Maintain your post: that’s all the fame you need;
For ’tis impossible you should proceed.
Already I am worn with cares and age,
And just abandoning th’ ungrateful stage:
Unprofitably kept at heav’n’s expense,
I live a rent-charge on his providence.
But you, whom every muse and grace adorn,
Whom I foresee to better fortune born,
Be kind to my remains; and oh, defend,
Against your judgment, your departed friend!
Let not th’ insulting foe my fame pursue;
But shade those laurels which descend to you:
And take for tribute what these lines express:
You merit more; nor could my love do less.
Keep your place: that’s all the fame you need;
Because it’s impossible for you to move on.
I’m already tired from worries and old age,
And I'm just leaving this ungrateful stage:
Unprofitably supported at heaven’s expense,
I live as a burden on His providence.
But you, who are blessed with every muse and grace,
Whom I can see destined for better fortune,
Be kind to my memory; and oh, protect,
Your departed friend against your judgment!
Don’t let the mocking enemy chase my fame;
But cover those laurels that fall to you:
And take as tribute what these lines convey:
You deserve more; my love couldn’t do less.
JOHN DRYDEN.
John Dryden.
PROLOGUE
Spoken by Mrs. Bracegirdle.
Moors have this way (as story tells) to know
Whether their brats are truly got or no;
Into the sea the new-born babe is thrown,
There, as instinct directs, to swim or drown.
A barbarous device, to try if spouse
Has kept religiously her nuptial vows.
Moors have this method (as the story goes) to tell
If their kids are really theirs or not;
They throw the newborn baby into the sea,
There, guided by instinct, to swim or drown.
A cruel test, to see if the wife
Has faithfully kept her wedding vows.
Such are the trials poets make of plays,
Only they trust to more inconstant seas;
So does our author, this his child commit
To the tempestuous mercy of the pit,
To know if it be truly born of wit.
Such are the challenges poets face with plays,
Only they rely on more unpredictable waters;
So does our author, this his creation hand over
To the stormy mercy of the audience,
To see if it is genuinely clever.
Critics avaunt, for you are fish of prey,
And feed, like sharks, upon an infant play.
Be ev’ry monster of the deep away;
Let’s have a fair trial and a clear sea.
Critics, step back, because you're like predatory fish,
And you devour, like sharks, an innocent performance.
Let every sea creature stay away;
Let's have a fair trial and calm waters.
Let nature work, and do not damn too soon,
For life will struggle long e’er it sink down:
And will at least rise thrice before it drown.
Let us consider, had it been our fate,
Thus hardly to be proved legitimate:
I will not say, we’d all in danger been,
Were each to suffer for his mother’s sin:
But by my troth I cannot avoid thinking,
How nearly some good men might have ’scaped sinking.
But, heav’n be praised, this custom is confined
Alone to th’ offspring of the muses kind:
Our Christian cuckolds are more bent to pity;
I know not one Moor-husband in the city.
I’ th’ good man’s arms the chopping bastard
thrives,
For he thinks all his own that is his wives’.
Let nature take its course, and don’t judge too quickly,
Because life will fight for a long time before it gives up:
And it will at least rise three times before it goes under.
Let’s think about it, what if it had been our destiny,
To be tested so harshly for our legitimacy:
I won’t say we would all be in danger,
If everyone faced punishment for their mother’s mistakes:
But honestly, I can’t help thinking,
How close some good men might have come to drowning.
But, thank goodness, this custom is limited
Only to the offspring of the muses:
Our Christian husbands are more inclined to show compassion;
I don’t know a single Moorish husband in the city.
In a good man’s arms, the illegitimate child thrives,
Because he thinks everything his wife has is his.
Whatever fate is for this play designed,
The poet’s sure he shall some comfort find:
For if his muse has played him false, the worst
That can befall him, is, to be divorced:
You husbands judge, if that be to be cursed.
Whatever fate this play has in store,
The poet's certain he’ll find some comfort:
For if his muse has let him down, the worst
That can happen is to be rejected:
You husbands decide if that’s really a curse.
DRAMATIS PERSONÆ.
MEN.
Maskwell, a villain; pretended friend to Mellefont, gallant to Lady Touchwood, and in love with Cynthia,—Mr. Betterton.
Maskwell, a villain; fake friend to Mellefont, charming to Lady Touchwood, and in love with Cynthia,—Mr. Betterton.
Lord Touchwood, uncle to Mellefont,—Mr. Kynaston.
Lord Touchwood, uncle to Mellefont,—Mr. Kynaston.
Mellefont, promised to, and in love with Cynthia,—Mr. Williams.
Mellefont is in love with Cynthia and has promised to be with her,—Mr. Williams.
Careless, his friend,—Mr. Verbruggen.
Careless, his friend, — Mr. Verbruggen.
Lord Froth, a solemn coxcomb,—Mr. Bowman.
Lord Froth, a serious fool,—Mr. Bowman.
Brisk, a pert coxcomb,—Mr. Powell.
Brisk, a sharp dresser,—Mr. Powell.
Sir Paul Plyant, an uxorious, foolish old knight; brother to Lady Touchwood, and father to Cynthia,—Mr. Dogget.
Sir Paul Plyant, a devoted and foolish old knight; brother to Lady Touchwood and father to Cynthia,—Mr. Dogget.
WOMEN.
Lady Touchwood, in love with Mellefont,—Mrs. Barry.
Lady Touchwood, in love with Mellefont,—Mrs. Barry.
Cynthia, daughter to Sir Paul by a former wife, promised to Mellefont,—Mrs. Bracegirdle.
Cynthia, daughter of Sir Paul by a previous marriage, was engaged to Mellefont,—Mrs. Bracegirdle.
Lady Froth, a great coquette; pretender to poetry, wit, and learning,—Mrs. Mountfort.
Lady Froth, a major flirt; poser in poetry, wit, and intelligence,—Mrs. Mountfort.
Lady Plyant, insolent to her husband, and easy to any pretender,—Mrs. Leigh.
Lady Plyant, disrespectful to her husband and receptive to any fake charmer,—Mrs. Leigh.
Chaplain, Boy, Footmen, and Attendants.
Chaplain, Boy, Footmen, and Attendants.
The Scene: A gallery in the Lord Touchwood’s house, with chambers adjoining.
The Scene: A gallery in Lord Touchwood’s house, with adjacent rooms.
ACT I.
SCENE I.
A gallery in the Lord Touchwood’s home, with chambers adjoining.
A gallery in Lord Touchwood's house, with nearby rooms.
Enter Careless, crossing the stage, with his hat, gloves, and sword in his hands; as just risen from table: Mellefont following him.
Enter Reckless, crossing the stage, with his hat, gloves, and sword in his hands; just coming from the table: Mellefont following him.
MEL. Ned, Ned, whither so fast? What, turned flincher! Why, you wo’ not leave us?
MEL. Ned, Ned, where are you rushing off to? What, are you backing out? Come on, you wouldn't leave us, would you?
CARE. Where are the women? I’m weary of guzzling, and begin to think them the better company.
CARE. Where are the women? I’m tired of drinking so much and start to believe they’re the better company.
MEL. Then thy reason staggers, and thou’rt almost drunk.
MEL. Then your reasoning is off, and you’re almost drunk.
CARE. No, faith, but your fools grow noisy; and if a man must endure the noise of words without sense, I think the women have more musical voices, and become nonsense better.
CARE. No, honestly, it's not faith, but your fools are getting loud; and if a guy has to put up with the noise of meaningless words, I believe the women have more pleasant voices and handle nonsense better.
MEL. Why, they are at the end of the gallery; retired to their tea and scandal, according to their ancient custom, after dinner. But I made a pretence to follow you, because I had something to say to you in private, and I am not like to have many opportunities this evening.
MEL. Well, they’re at the end of the gallery, sipping their tea and gossiping, as they always do after dinner. But I pretended to follow you because I wanted to talk to you privately, and I probably won’t have many chances to do that tonight.
CARE. And here’s this coxcomb most critically come to interrupt you.
CARE. And here’s this fool who has intentionally come to interrupt you.
SCENE II.
[To them] Brisk.
To them Brisk.
BRISK. Boys, boys, lads, where are you? What, do you give ground? Mortgage for a bottle, ha? Careless, this is your trick; you’re always spoiling company by leaving it.
BRISK. Boys, boys, where are you? What, are you backing down? Betting for a drink, huh? Come on, this is your thing; you always ruin the fun by walking away.
CARE. And thou art always spoiling company by coming in o’t.
CARE. And you're always ruining the mood by showing up uninvited.
BRISK. Pooh, ha, ha, ha, I know you envy me. Spite, proud spite, by the gods! and burning envy. I’ll be judged by Mellefont here, who gives and takes raillery better than you or I. Pshaw, man, when I say you spoil company by leaving it, I mean you leave nobody for the company to laugh at. I think there I was with you. Ha, Mellefont?
BRISK. Pooh, ha, ha, ha, I know you're jealous of me. Spite, proud spite, by the gods! and burning envy. I’ll let Mellefont here judge, since he handles teasing better than either of us. Come on, man, when I say you ruin the fun by leaving, I mean you leave no one for everyone else to laugh at. I think I’m with you on that. Ha, Mellefont?
MEL. O’ my word, Brisk, that was a home thrust; you have silenced him.
MEL. Oh my word, Brisk, that really hit home; you’ve shut him down.
BRISK. Oh, my dear Mellefont, let me perish if thou art not the soul of conversation, the very essence of wit and spirit of wine. The deuce take me if there were three good things said, or one understood, since thy amputation from the body of our society. He, I think that’s pretty and metaphorical enough; i’gad I could not have said it out of thy company. Careless, ha?
BRISK. Oh, my dear Mellefont, I swear, you are the life of the party, the very essence of wit and good company. Honestly, it's been a terrible time without you; I don't think there have been three decent things said, or one that made any sense, since you left our circle. I think that's pretty metaphorical; honestly, I couldn't have put it that way without you around. Careless, right?
CARE. Hum, ay, what is’t?
CARE. Huh, yeah, what is it?
BRISK. O mon cœur! What is’t! Nay, gad, I’ll punish you for want of apprehension. The deuce take me if I tell you.
BRISK. Oh my heart! What’s going on! No way, I’ll teach you a lesson for not getting it. I swear I won't tell you.
MEL. No, no, hang him, he has no taste. But, dear Brisk, excuse me, I have a little business.
MEL. No, no, let him go, he has no style. But, dear Brisk, sorry, I have a bit of business to take care of.
CARE. Prithee get thee gone; thou seest we are serious.
CARE. Please leave; you can see we are serious.
MEL. We’ll come immediately, if you’ll but go in and keep up good humour and sense in the company. Prithee do, they’ll fall asleep else.
MEL. We’ll come right away if you just go in and stay cheerful and sensible around everyone. Please do, or they’ll get bored and fall asleep.
BRISK. I’gad, so they will. Well, I will, I will; gad, you shall command me from the Zenith to the Nadir. But the deuce take me if I say a good thing till you come. But prithee, dear rogue, make haste, prithee make haste, I shall burst else. And yonder your uncle, my Lord Touchwood, swears he’ll disinherit you, and Sir Paul Plyant threatens to disclaim you for a son-in-law, and my Lord Froth won’t dance at your wedding to-morrow; nor, the deuce take me, I won’t write your Epithalamium—and see what a condition you’re like to be brought to.
BRISK. I swear, they really will. Well, I will, I will; seriously, you can command me from the highest point to the lowest. But I swear if I say something nice until you arrive, the devil take me. But please, my dear friend, hurry up, please hurry up, or I’ll explode. And look, your uncle, my Lord Touchwood, claims he’ll cut you out of his will, and Sir Paul Plyant is threatening to disown you as a son-in-law, and my Lord Froth won’t dance at your wedding tomorrow; and honestly, I won’t write your wedding poem—and just see what a state you’re getting into.
MEL. Well, I’ll speak but three words, and follow you.
MEL. Well, I’ll say just three words and follow you.
BRISK. Enough, enough. Careless, bring your apprehension along with you.
BRISK. Enough, enough. Careless, bring your worries with you.
SCENE III.
Mellefont, Careless.
Mellefont, Careless.
CARE. Pert coxcomb.
CARE. Pert jerk.
MEL. Faith, ’tis a good-natured coxcomb, and has very entertaining follies. You must be more humane to him; at this juncture it will do me service. I’ll tell you, I would have mirth continued this day at any rate; though patience purchase folly, and attention be paid with noise, there are times when sense may be unseasonable as well as truth. Prithee do thou wear none to-day, but allow Brisk to have wit, that thou may’st seem a fool.
MEL. Honestly, he’s a good-natured fool and has some very entertaining quirks. You should be nicer to him; right now, it will help me out. I’ll tell you, I wanted laughter to last all day, no matter what; even though patience costs you foolishness and listening comes with noise, there are times when common sense can be just as out of place as the truth. Please don’t act sensible today, but let Brisk be the witty one so you can look silly.
CARE. Why, how now, why this extravagant proposition?
CARE. Why, what's going on here? Why this outrageous suggestion?
MEL. Oh, I would have no room for serious design, for I am jealous of a plot. I would have noise and impertinence keep my Lady Touchwood’s head from working: for hell is not more busy than her brain, nor contains more devils than that imaginations.
MEL. Oh, I wouldn’t have any space for serious planning, since I’m protective of a scheme. I’d want noise and rudeness to stop my Lady Touchwood’s mind from working: because hell isn’t busier than her brain, nor does it hold more demons than her imagination.
CARE. I thought your fear of her had been over. Is not to-morrow appointed for your marriage with Cynthia, and her father, Sir Paul Plyant, come to settle the writings this day on purpose?
CARE. I thought you were done being scared of her. Isn’t tomorrow set for your wedding with Cynthia, and her father, Sir Paul Plyant, here today to finalize the paperwork for that?
MEL. True; but you shall judge whether I have not reason to be alarmed. None besides you and Maskwell are acquainted with the secret of my Aunt Touchwood’s violent passion for me. Since my first refusal of her addresses she has endeavoured to do me all ill offices with my uncle, yet has managed ’em with that subtilty, that to him they have borne the face of kindness; while her malice, like a dark lanthorn, only shone upon me where it was directed. Still, it gave me less perplexity to prevent the success of her displeasure than to avoid the importunities of her love, and of two evils I thought myself favoured in her aversion. But whether urged by her despair and the short prospect of time she saw to accomplish her designs; whether the hopes of revenge, or of her love, terminated in the view of this my marriage with Cynthia, I know not, but this morning she surprised me in my bed.
MEL. True; but you can decide if I have a reason to be worried. No one except you and Maskwell knows about my Aunt Touchwood’s intense feelings for me. Ever since I turned her down, she has tried to undermine me with my uncle, but she has done it so cleverly that he sees it as kindness. Meanwhile, her malice only shines on me like a dark lantern, directing all its light my way. Still, it was less troubling for me to prevent her from acting on her anger than to fend off her persistent advances. Given those two problems, I believed I was better off with her dislike. But I don’t know if it was her desperation, the limited time she had to carry out her plans, or her hopes for revenge or love that made her fixate on my marriage to Cynthia, but this morning she caught me in bed.
CARE. Was there ever such a fury! ’Tis well nature has not put it into her sex’s power to ravish. Well, bless us, proceed. What followed?
CARE. Was there ever such a rage! It’s a good thing nature hasn’t given women the power to overwhelm. Well, let’s get on with it. What happened next?
MEL. What at first amazed me—for I looked to have seen her in all the transports of a slighted and revengeful woman—but when I expected thunder from her voice, and lightning in her eyes, I saw her melted into tears and hushed into a sigh. It was long before either of us spoke: passion had tied her tongue, and amazement mine. In short, the consequence was thus, she omitted nothing that the most violent love could urge, or tender words express; which when she saw had no effect, but still I pleaded honour and nearness of blood to my uncle, then came the storm I feared at first, for, starting from my bed-side like a fury, she flew to my sword, and with much ado I prevented her doing me or herself a mischief. Having disarmed her, in a gust of passion she left me, and in a resolution, confirmed by a thousand curses, not to close her eyes till they had seen my ruin.
MEL. What surprised me at first—since I thought I’d see her overwhelmed with the rage of a scorned woman—but when I expected thunder in her voice and fire in her eyes, I found her in tears and letting out a sigh. It took a long time for either of us to speak: her emotions had rendered her speechless, and I was equally stunned. In short, she didn’t hold back anything that intense love could inspire or affectionate words could convey; when she realized that didn’t affect me, I continued to argue about honor and our family ties to my uncle. Then came the storm I had feared from the beginning, as she sprang up from my bedside like a fury, rushing towards my sword, and with great effort, I managed to stop her from hurting herself or me. Once I disarmed her, in a fit of passion, she stormed out, swearing a hundred curses, determined not to sleep until she witnessed my downfall.
CARE. Exquisite woman! But what the devil, does she think thou hast no more sense than to get an heir upon her body to disinherit thyself? for as I take it this settlement upon you is, with a proviso, that your uncle have no children.
CARE. Exquisite woman! But seriously, does she think you’re not smart enough to have a child with her and end up disinheriting yourself? Because as I see it, this agreement with you comes with the condition that your uncle has no children.
MEL. It is so. Well, the service you are to do me will be a pleasure to yourself: I must get you to engage my Lady Plyant all this evening, that my pious aunt may not work her to her interest. And if you chance to secure her to yourself, you may incline her to mine. She’s handsome, and knows it; is very silly, and thinks she has sense, and has an old fond husband.
MEL. It is true. Well, the favor I need from you will actually be enjoyable for you: I need you to keep my Lady Plyant occupied all evening, so my religious aunt doesn’t influence her for her own benefit. And if you happen to win her over for yourself, you could nudge her in my direction. She’s attractive and she knows it; she’s quite foolish but believes she’s smart, and she has an old, doting husband.
CARE. I confess, a very fair foundation for a lover to build upon.
CARE. I admit, it’s a solid foundation for anyone in love to build on.
MEL. For my Lord Froth, he and his wife will be sufficiently taken up with admiring one another and Brisk’s gallantry, as they call it. I’ll observe my uncle myself, and Jack Maskwell has promised me to watch my aunt narrowly, and give me notice upon any suspicion. As for Sir Paul, my wise father-in-law that is to be, my dear Cynthia has such a share in his fatherly fondness, he would scarce make her a moment uneasy to have her happy hereafter.
MEL. For Lord Froth, he and his wife will be too busy admiring each other and Brisk's charm, as they like to call it. I'll keep an eye on my uncle, and Jack Maskwell has promised to watch my aunt closely and let me know if anything seems off. As for Sir Paul, my soon-to-be father-in-law, my dear Cynthia has such a special place in his heart that he wouldn't want to make her uncomfortable just to ensure her happiness in the future.
CARE. So you have manned your works; but I wish you may not have the weakest guard where the enemy is strongest.
CARE. So you have staffed your operations; but I hope you don't have the weakest defense where the enemy is most powerful.
MEL. Maskwell, you mean; prithee why should you suspect him?
MEL. Maskwell, you mean; please tell me, why do you suspect him?
CARE. Faith I cannot help it; you know I never liked him: I am a little superstitious in physiognomy.
CARE. Honestly, I can't help it; you know I never liked him: I'm a bit superstitious when it comes to faces.
MEL. He has obligations of gratitude to bind him to me: his dependence upon my uncle is through my means.
MEL. He has a debt of gratitude to tie him to me: his reliance on my uncle comes from my efforts.
CARE. Upon your aunt, you mean.
CARE. Upon your aunt, you mean.
MEL. My aunt!
Auntie!
CARE. I’m mistaken if there be not a familiarity between them you do not suspect, notwithstanding her passion for you.
CARE. I’m wrong if there isn’t a familiarity between them that you’re not aware of, despite her feelings for you.
MEL. Pooh, pooh! nothing in the world but his design to do me service; and he endeavours to be well in her esteem, that he may be able to effect it.
MEL. Pooh, pooh! There's nothing going on but his plan to help me; and he's trying hard to gain her approval so that he can make it happen.
CARE. Well, I shall be glad to be mistaken; but your aunt’s aversion in her revenge cannot be any way so effectually shown as in bringing forth a child to disinherit you. She is handsome and cunning and naturally wanton. Maskwell is flesh and blood at best, and opportunities between them are frequent. His affection to you, you have confessed, is grounded upon his interest, that you have transplanted; and should it take root in my lady, I don’t see what you can expect from the fruit.
CARE. Well, I'd be happy to be wrong; but your aunt's desire for revenge couldn't be more effectively demonstrated than by having a child to cut you out of the inheritance. She's beautiful, clever, and naturally flirtatious. Maskwell is only human, and they have plenty of chances to be together. You've admitted that his affection for you is based on the benefits you've provided him, and if that affection takes root with my lady, I don't see what you can hope for from the outcome.
MEL. I confess the consequence is visible, were your suspicions just. But see, the company is broke up, let’s meet ’em.
MEL. I admit the outcome is clear, if your suspicions are right. But look, the gathering is over, let's catch up with them.
SCENE IV.
[To them] Lord Touchwood, Lord Froth, Sir Paul Plyant, and Brisk.
[To them] Lord Touchwood, Lord Froth, Sir Paul Plyant, and Energetic.
LORD TOUCH. Out upon’t, nephew. Leave your father-in-law and me to maintain our ground against young people!
LORD TOUCH. Ugh, come on, nephew. Just leave your father-in-law and me to stand our ground against the younger generation!
MEL. I beg your lordship’s pardon. We were just returning.
MEL. I apologize, my lord. We were just coming back.
SIR PAUL. Were you, son? Gadsbud, much better as it is. Good, strange! I swear I’m almost tipsy; t’other bottle would have been too powerful for me,—as sure as can be it would. We wanted your company, but Mr. Brisk—where is he? I swear and vow he’s a most facetious person, and the best company. And, my Lord Froth, your lordship is so merry a man, he, he, he.
SIR PAUL. Were you, son? Wow, it's much better this way. It's good, strange! I swear I'm almost tipsy; another bottle would have been too much for me—as sure as can be. We wanted you to join us, but where's Mr. Brisk? I swear he's such a funny guy and great company. And, my Lord Froth, you’re such a cheerful man, ha ha ha.
LORD FROTH. Oh, foy, Sir Paul, what do you mean? Merry! Oh, barbarous! I’d as lieve you called me fool.
LORD FROTH. Oh, come on, Sir Paul, what are you getting at? Seriously! Oh, that's cruel! I'd prefer you just called me a fool.
SIR PAUL. Nay, I protest and vow now, ’tis true; when Mr. Brisk jokes, your lordship’s laugh does so become you, he, he, he.
SIR PAUL. No, I swear it’s true; when Mr. Brisk makes jokes, your lordship's laugh suits you so well, ha ha ha.
LORD FROTH. Ridiculous! Sir Paul, you’re strangely mistaken, I find champagne is powerful. I assure you, Sir Paul, I laugh at nobody’s jest but my own, or a lady’s, I assure you, Sir Paul.
LORD FROTH. Ridiculous! Sir Paul, you're very much mistaken; I find champagne to be quite strong. I promise you, Sir Paul, I only laugh at my own jokes or at a lady's, I assure you, Sir Paul.
BRISK. How? how, my lord? what, affront my wit! Let me perish, do I never say anything worthy to be laughed at?
BRISK. How? How, my lord? What, insult my intelligence! Let me die, do I never say anything that's worth laughing at?
LORD FROTH. Oh, foy, don’t misapprehend me; I don’t say so, for I often smile at your conceptions. But there is nothing more unbecoming a man of quality than to laugh; ’tis such a vulgar expression of the passion; everybody can laugh. Then especially to laugh at the jest of an inferior person, or when anybody else of the same quality does not laugh with one—ridiculous! To be pleased with what pleases the crowd! Now when I laugh, I always laugh alone.
LORD FROTH. Oh, come on, don’t get me wrong; I’m not saying that. I actually often appreciate your ideas. But there’s nothing less dignified for a person of high status than to laugh; it’s such a common display of emotion; anyone can laugh. Especially laughing at a joke from someone beneath you, or when no one else of your status is laughing with you—how absurd! Finding joy in what the crowd enjoys! When I laugh, I always laugh alone.
BRISK. I suppose that’s because you laugh at your own jests, i’gad, ha, ha, ha.
BRISK. I guess that's because you find your own jokes funny, I swear, ha, ha, ha.
LORD FROTH. He, he, I swear though, your raillery provokes me to a smile.
LORD FROTH. Ha, I have to admit, your teasing makes me smile.
BRISK. Ay, my lord, it’s a sign I hit you in the teeth, if you show ’em.
BRISK. Yes, my lord, it means I’ve struck you in the teeth if you reveal them.
LORD FROTH. He, he, he, I swear that’s so very pretty, I can’t forbear.
LORD FROTH. Ha, ha, ha, I swear that's really beautiful, I can't help myself.
CARE. I find a quibble bears more sway in your lordship’s face than a jest.
CARE. I think a small disagreement has more influence on your lordship than a joke.
LORD TOUCH. Sir Paul, if you please we’ll retire to the ladies, and drink a dish of tea to settle our heads.
LORD TOUCH. Sir Paul, if you don’t mind, let’s head over to the ladies and have a cup of tea to clear our minds.
SIR PAUL. With all my heart. Mr. Brisk, you’ll come to us, or call me when you joke; I’ll be ready to laugh incontinently.
SIR PAUL. With all my heart. Mr. Brisk, you’ll come to us, or call me when you’re joking; I’ll be ready to laugh nonstop.
SCENE V.
Mellefont, Careless, Lord Froth, Brisk.
Mellefont, Careless, Lord Froth, Brisk.
MEL. But does your lordship never see comedies?
MEL. But don't you ever watch comedies?
LORD FROTH. Oh yes, sometimes; but I never laugh.
LORD FROTH. Oh yeah, sometimes; but I never laugh.
MEL. No?
MEL. Nope?
LORD FROTH. Oh no; never laugh indeed, sir.
LORD FROTH. Oh no; definitely don’t laugh, sir.
CARE. No! why, what d’ye go there for?
CARE. No! Why are you going there?
LORD FROTH. To distinguish myself from the commonalty and mortify the poets; the fellows grow so conceited, when any of their foolish wit prevails upon the side-boxes. I swear,—he, he, he, I have often constrained my inclinations to laugh,—he, he, he, to avoid giving them encouragement.
LORD FROTH. To set myself apart from the common people and frustrate the poets; those guys get so full of themselves when any of their silly jokes land in the side-boxes. I swear,—ha, ha, ha, I’ve often held back my urge to laugh,—ha, ha, ha, to avoid giving them any praise.
MEL. You are cruel to yourself, my lord, as well as malicious to them.
MEL. You’re being hard on yourself, my lord, and also being harmful to them.
LORD FROTH. I confess I did myself some violence at first, but now I think I have conquered it.
LORD FROTH. I admit I struggled with this at first, but now I believe I've overcome it.
BRISK. Let me perish, my lord, but there is something very particular in the humour; ’tis true it makes against wit, and I’m sorry for some friends of mine that write; but, i’gad, I love to be malicious. Nay, deuce take me, there’s wit in’t, too. And wit must be foiled by wit; cut a diamond with a diamond, no other way, i’gad.
BRISK. Let me be honest, my lord, but there’s definitely something unique about this humor; it’s true it doesn’t favor wit, and I feel bad for some of my friends who write; but, honestly, I enjoy being a bit spiteful. Seriously, there’s wit in it as well. And wit has to be matched with wit; you have to cut a diamond with another diamond, no other way, honestly.
LORD FROTH. Oh, I thought you would not be long before you found out the wit.
LORD FROTH. Oh, I figured it wouldn't take you long to catch on to the cleverness.
CARE. Wit! In what? Where the devil’s the wit in not laughing when a man has a mind to’t?
CARE. Wit! In what? Where on earth is the wit in not laughing when someone feels like it?
BRISK. O Lord, why can’t you find it out? Why, there ’tis, in the not laughing. Don’t you apprehend me? My lord, Careless is a very honest fellow, but harkee, you understand me, somewhat heavy, a little shallow, or so. Why, I’ll tell you now, suppose now you come up to me—nay, prithee, Careless, be instructed. Suppose, as I was saying, you come up to me holding your sides, and laughing as if you would—well—I look grave, and ask the cause of this immoderate mirth. You laugh on still, and are not able to tell me, still I look grave, not so much as smile.
BRISK. Oh Lord, why can't you figure it out? There it is, in not laughing. Don’t you get me? My lord, Careless is a very honest guy, but listen, you understand me, he's a bit slow, a little shallow, or something like that. Well, let me explain, imagine you come up to me—no, please, Careless, pay attention. Imagine, as I was saying, you come up to me holding your sides and laughing like you really mean it—well—I stay serious and ask what’s behind this wild laughter. You keep laughing and can’t tell me why, but I still stay serious, not even a smile.
CARE. Smile, no, what the devil should you smile at, when you suppose I can’t tell you!
CARE. Smile? No, what on earth should you smile at, when you think I can’t figure it out!
BRISK. Pshaw, pshaw, prithee don’t interrupt me. But I tell you, you shall tell me at last, but it shall be a great while first.
BRISK. Pshaw, pshaw, please don’t interrupt me. But I’m telling you, you will tell me eventually, but it’s going to be quite a while before that happens.
CARE. Well, but prithee don’t let it be a great while, because I long to have it over.
CARE. Well, please don’t take too long, because I really want to get it over with.
BRISK. Well then, you tell me some good jest or some very witty thing, laughing all the while as if you were ready to die, and I hear it, and look thus. Would not you be disappointed?
BRISK. Well then, tell me a good joke or something really clever, laughing the whole time as if you’re about to burst, and I listen and look like this. Wouldn't you be let down?
CARE. No; for if it were a witty thing I should not expect you to understand it.
CARE. No; because if it were clever, I wouldn't expect you to get it.
LORD FROTH. Oh, foy, Mr. Careless, all the world allows Mr. Brisk to have wit; my wife says he has a great deal. I hope you think her a judge.
LORD FROTH. Oh, come on, Mr. Careless, everyone thinks Mr. Brisk is witty; my wife says he's got a lot of it. I hope you think she's a good judge.
BRISK. Pooh, my lord, his voice goes for nothing; I can’t tell how to make him apprehend. Take it t’other way. Suppose I say a witty thing to you?
BRISK. Pooh, my lord, his voice doesn't mean anything; I can't figure out how to make him understand. Let's think about it differently. What if I say something clever to you?
CARE. Then I shall be disappointed indeed.
CARE. Then I'll be really disappointed.
MEL. Let him alone, Brisk, he is obstinately bent not to be instructed.
MEL. Leave him be, Brisk; he’s stubbornly unwilling to learn.
BRISK. I’m sorry for him, the deuce take me.
BRISK. I'm really sorry for him, I swear.
MEL. Shall we go to the ladies, my lord?
MEL. Shall we head to the ladies' room, my lord?
LORD FROTH. With all my heart; methinks we are a solitude without ’em.
LORD FROTH. With all my heart; I feel like we're alone without them.
MEL. Or what say you to another bottle of champagne?
MEL. Or what do you think about another bottle of champagne?
LORD FROTH. Oh, for the universe not a drop more, I beseech you. Oh, intemperate! I have a flushing in my face already. [Takes out a pocket-glass and looks in it.]
LORD FROTH. Oh, for everything that’s good, not a single drop more, I beg you. Oh, excessive! I can already feel my face getting hot. [Takes out a pocket mirror and looks in it.]
BRISK. Let me see, let me see, my lord, I broke my glass that was in the lid of my snuff-box. Hum! Deuce take me, I have encouraged a pimple here too. [Takes the glass and looks.]
BRISK. Let me see, let me see, my lord, I broke the glass that was in the lid of my snuff box. Hmm! Damn it, I've got a pimple here too. [Takes the glass and looks.]
LORD FROTH. Then you must mortify him with a patch; my wife shall supply you. Come, gentlemen, allons, here is company coming.
LORD FROTH. Then you need to embarrass him with a patch; my wife will take care of that for you. Come on, gentlemen, let's go, here comes some company.
SCENE VI.
Lady Touchwood and Maskwell.
Lady Touchwood and Maskwell.
LADY TOUCH. I’ll hear no more. You are false and ungrateful; come, I know you false.
LADY TOUCH. I won't hear any more. You are deceitful and ungrateful; come on, I know you're lying.
MASK. I have been frail, I confess, madam, for your ladyship’s service.
MASK. I admit, ma'am, I have been weak for your service.
LADY TOUCH. That I should trust a man whom I had known betray his friend!
LADY TOUCH. That I should trust a man who I know has betrayed his friend!
MASK. What friend have I betrayed? or to whom?
MASK. What friend have I let down? Or who have I wronged?
LADY TOUCH. Your fond friend Mellefont, and to me; can you deny it?
LADY TOUCH. Your dear friend Mellefont, and to me; can you deny it?
MASK. I do not.
MASK. I don't.
LADY TOUCH. Have you not wronged my lord, who has been a father to you in your wants, and given you being? Have you not wronged him in the highest manner, in his bed?
LADY TOUCH. Have you not betrayed my lord, who has taken care of you in your times of need and given you life? Have you not wronged him in the most significant way, in his own bed?
MASK. With your ladyship’s help, and for your service, as I told you before. I can’t deny that neither. Anything more, madam?
MASK. With your ladyship’s help, and for your service, as I mentioned before. I can’t deny that either. Anything else, madam?
LADY TOUCH. More! Audacious villain! Oh, what’s more, is most my shame. Have you not dishonoured me?
LADY TOUCH. More! Bold villain! Oh, what's worse, is my greatest shame. Have you not dishonored me?
MASK. No, that I deny; for I never told in all my life: so that accusation’s answered; on to the next.
MASK. No, I deny that; because I’ve never said anything like that in my life: so that accusation is settled; moving on to the next.
LADY TOUCH. Death, do you dally with my passion? Insolent devil! But have a care,—provoke me not; for, by the eternal fire, you shall not ’scape my vengeance. Calm villain! How unconcerned he stands, confessing treachery and ingratitude! Is there a vice more black? Oh, I have excuses thousands for my faults; fire in my temper, passions in my soul, apt to ev’ry provocation, oppressed at once with love, and with despair. But a sedate, a thinking villain, whose black blood runs temperately bad, what excuse can clear?
LADY TOUCH. Death, are you toying with my feelings? You insolent devil! But be careful—don't provoke me; for, by the eternal fire, you won't escape my revenge. Calm villain! How unfazed he stands, admitting treachery and ingratitude! Is there a vice more despicable? Oh, I have countless excuses for my faults; fire in my temper, passions in my soul, prone to every provocation, crushed at once by love and by despair. But a calm, calculating villain, whose dark blood runs steadily bad, what excuse could clear him?
MASK. Will you be in temper, madam? I would not talk not to be heard. I have been [she walks about disordered] a very great rogue for your sake, and you reproach me with it; I am ready to be a rogue still, to do you service; and you are flinging conscience and honour in my face, to rebate my inclinations. How am I to behave myself? You know I am your creature, my life and fortune in your power; to disoblige you brings me certain ruin. Allow it I would betray you, I would not be a traitor to myself: I don’t pretend to honesty, because you know I am a rascal; but I would convince you from the necessity of my being firm to you.
MASK. Are you going to be in a bad mood, madam? I wouldn't speak if I couldn't be heard. I've been a real troublemaker for your sake, and you blame me for it; I'm ready to be a troublemaker again to help you out, and yet you're throwing conscience and honor in my face to dampen my desires. What am I supposed to do? You know I'm your servant, my life and future are in your hands; upsetting you would lead to my downfall. Even if I were to betray you, I wouldn’t betray myself: I’m not pretending to be honest because you know I’m a scoundrel; but I want to show you how important it is for me to be loyal to you.
LADY TOUCH. Necessity, impudence! Can no gratitude incline you, no obligations touch you? Have not my fortune and my person been subjected to your pleasure? Were you not in the nature of a servant, and have not I in effect made you lord of all, of me, and of my lord? Where is that humble love, the languishing, that adoration, which once was paid me, and everlastingly engaged?
LADY TOUCH. Necessity, audacity! Can no gratitude sway you, no obligations affect you? Haven't my fortune and my well-being been at your service? Weren't you sort of like a servant, and haven't I basically made you in charge of everything—me and my lord? Where is that humble love, the yearning, that adoration that was once shown to me and promised forever?
MASK. Fixt, rooted in my heart, whence nothing can remove ’em, yet you—
MASK. Fixed, rooted in my heart, from where nothing can remove them, yet you—
LADY TOUCH. Yet, what yet?
LADY TOUCH. But what now?
MASK. Nay, misconceive me not, madam, when I say I have had a gen’rous and a faithful passion, which you had never favoured, but through revenge and policy.
MASK. No, don’t misunderstand me, madam, when I say I have had a genuine and loyal affection, which you have never granted, except out of spite and strategy.
LADY TOUCH. Ha!
LADY TOUCH. Haha!
MASK. Look you, madam, we are alone,—pray contain yourself and hear me. You know you loved your nephew when I first sighed for you; I quickly found it: an argument that I loved, for with that art you veiled your passion ’twas imperceptible to all but jealous eyes. This discovery made me bold; I confess it; for by it I thought you in my power. Your nephew’s scorn of you added to my hopes; I watched the occasion, and took you, just repulsed by him, warm at once with love and indignation; your disposition, my arguments, and happy opportunity accomplished my design; I pressed the yielding minute, and was blest. How I have loved you since, words have not shown, then how should words express?
MASK. Look, madam, we’re alone—please calm yourself and listen to me. You know you loved your nephew when I first started having feelings for you; I noticed it quickly: it was proof of my own love, because with that skill you hid your feelings so well that only jealous eyes could see through it. This realization gave me confidence; I admit it; because I thought I had you under my influence. Your nephew treating you with disdain only fueled my hopes; I waited for the right moment and took you, just rejected by him, filled with both love and anger; your mood, my arguments, and the fortunate timing helped me succeed; I seized the moment and was blessed. How I have loved you since then, words cannot convey, so how can words even express it?
LADY TOUCH. Well, mollifying devil! And have I not met your love with forward fire?
LADY TOUCH. Well, smooth-talking devil! And haven’t I matched your love with my own passion?
MASK. Your zeal, I grant, was ardent, but misplaced; there was revenge in view; that woman’s idol had defiled the temple of the god, and love was made a mock-worship. A son and heir would have edged young Mellefont upon the brink of ruin, and left him none but you to catch at for prevention.
MASK. Your passion, I admit, was intense, but misdirected; there was revenge in sight; that woman’s idol had desecrated the temple of the god, and love turned into a mockery of worship. A son and heir would have pushed young Mellefont right to the edge of destruction, leaving you as the only one to catch him before it happened.
LADY TOUCH. Again provoke me! Do you wind me like a larum, only to rouse my own stilled soul for your diversion? Confusion!
LADY TOUCH. Again, are you provoking me?! Do you toy with me like a wind-up toy, just to wake my quiet soul for your amusement? It’s so confusing!
MASK. Nay, madam, I’m gone, if you relapse. What needs this? I say nothing but what you yourself, in open hours of love, have told me. Why should you deny it? Nay, how can you? Is not all this present heat owing to the same fire? Do you not love him still? How have I this day offended you, but in not breaking off his match with Cynthia? which, ere to-morrow, shall be done, had you but patience.
MASK. No, madam, I’m out of here if you go back on this. What’s the point of this? I’m only saying what you’ve already told me during those open moments of love. Why would you deny it? How can you? Isn’t all this current passion coming from the same fire? Do you not still love him? How have I upset you today, except for not ending his relationship with Cynthia? That can be done by tomorrow, if you’d just have a little patience.
LADY TOUCH. How, what said you, Maskwell? Another caprice to unwind my temper?
LADY TOUCH. How, what did you say, Maskwell? Another whim to irritate me?
MASK. By heav’n, no; I am your slave, the slave of all your pleasures; and will not rest till I have given you peace, would you suffer me.
MASK. By heaven, no; I am your servant, the servant of all your pleasures; and I won't stop until I've given you peace, if you would allow me.
LADY TOUCH. O Maskwell! in vain I do disguise me from thee, thou know’st me, knowest the very inmost windings and recesses of my soul. O Mellefont! I burn; married to morrow! Despair strikes me. Yet my soul knows I hate him too: let him but once be mine, and next immediate ruin seize him.
LADY TOUCH. O Maskwell! I’m hopelessly trying to hide from you; you know me, you know the deepest corners of my soul. O Mellefont! I’m on fire; I’ll be married tomorrow! Despair overwhelms me. Yet I know deep down that I hate him too: just let him be mine for once, and then ruin will take him instantly.
MASK. Compose yourself, you shall possess and ruin him too,—will that please you?
MASK. Calm yourself; you will have him and ruin him too—does that please you?
LADY TOUCH. How, how? Thou dear, thou precious villain, how?
LADY TOUCH. How, how? You dear, you precious villain, how?
MASK. You have already been tampering with my Lady Plyant.
MASK. You’ve already been messing with my Lady Plyant.
LADY TOUCH. I have: she is ready for any impression I think fit.
LADY TOUCH. I have: she is ready for any impression I want.
MASK. She must be throughly persuaded that Mellefont loves her.
MASK. She has to be completely convinced that Mellefont loves her.
LADY TOUCH. She is so credulous that way naturally, and likes him so well, that she will believe it faster than I can persuade her. But I don’t see what you can propose from such a trifling design, for her first conversing with Mellefont will convince her of the contrary.
LADY TOUCH. She’s so gullible in that way, and she likes him so much that she’ll believe it faster than I can convince her otherwise. But I don’t understand what you can hope to gain from such a trivial plan, since her first conversation with Mellefont will prove the opposite to her.
MASK. I know it. I don’t depend upon it. But it will prepare something else, and gain us leisure to lay a stronger plot. If I gain a little time, I shall not want contrivance.
MASK. I get it. I don’t rely on it. But it will create something else and give us the time to come up with a better plan. If I buy a little time, I won’t lack for ideas.
One minute gives invention to destroy,
One minute allows for the creation of destruction,
What to rebuild will a whole age employ.
What a whole era will focus on rebuilding.
ACT II.
SCENE I.
Lady Froth and Cynthia.
Lady Froth and Cynthia.
CYNT. Indeed, madam! Is it possible your ladyship could have been so much in love?
CYNT. Indeed, ma'am! Is it possible you could have been so deeply in love?
LADY FROTH. I could not sleep; I did not sleep one wink for three weeks together.
LADY FROTH. I couldn't sleep; I didn't get a wink of sleep for three weeks straight.
CYNT. Prodigious! I wonder want of sleep, and so much love and so much wit as your ladyship has, did not turn your brain.
CYNT. Prodigious! I wonder how you manage to get by without sleep, with all the love and wit your ladyship has, without it driving you mad.
LADY FROTH. Oh, my dear Cynthia, you must not rally your friend. But really, as you say, I wonder too. But then I had a way. For, between you and I, I had whimsies and vapours, but I gave them vent.
LADY FROTH. Oh, my dear Cynthia, you shouldn't tease your friend. But honestly, just like you said, I'm curious too. However, I found a way. Because, between you and me, I had my quirks and moods, but I let them out.
CYNT. How, pray, madam?
CYNT. How, may I ask, madam?
LADY FROTH. Oh, I writ, writ abundantly. Do you never write?
LADY FROTH. Oh, I write a lot. Don’t you ever write?
CYNT. Write what?
CYNT. Write what?
LADY FROTH. Songs, elegies, satires, encomiums, panegyrics, lampoons, plays, or heroic poems?
LADY FROTH. Songs, poems of mourning, sarcastic pieces, praises, celebratory speeches, mockeries, plays, or epic poems?
CYNT. O Lord, not I, madam; I’m content to be a courteous reader.
CYNT. O Lord, not me, ma'am; I'm happy to just be a polite reader.
LADY FROTH. Oh, inconsistent! In love and not write! If my lord and I had been both of your temper, we had never come together. Oh, bless me! What a sad thing would that have been, if my lord and I should never have met!
LADY FROTH. Oh, how inconsistent! In love but not expressing it! If my lord and I had both been like you, we would have never ended up together. Oh, what a pity that would have been if my lord and I had never met!
CYNT. Then neither my lord nor you would ever have met with your match, on my conscience.
CYNT. Then neither my lord nor you would ever have encountered someone who could challenge you, honestly.
LADY FROTH. O’ my conscience, no more we should; thou say’st right. For sure my Lord Froth is as fine a gentleman and as much a man of quality! Ah! nothing at all of the common air. I think I may say he wants nothing but a blue ribbon and a star to make him shine, the very phosphorus of our hemisphere. Do you understand those two hard words? If you don’t, I’ll explain ’em to you.
LADY FROTH. Oh my gosh, we definitely shouldn’t; you’re completely right. My Lord Froth is truly a great gentleman and a man of high status! He’s nothing like the average person. Honestly, I’d say he just needs a blue ribbon and a star to really stand out, the very essence of our society. Do you get those two fancy words? If not, I’ll break them down for you.
CYNT. Yes, yes, madam, I’m not so ignorant.—At least I won’t own it, to be troubled with your instructions. [Aside.]
CYNT. Yes, yes, ma'am, I'm not that clueless.—At least I won't admit it if I am bothered by your instructions. [Aside.]
LADY FROTH. Nay, I beg your pardon; but being derived from the Greek, I thought you might have escaped the etymology. But I’m the more amazed to find you a woman of letters and not write! Bless me! how can Mellefont believe you love him?
LADY FROTH. No, I’m sorry; but since it comes from Greek, I thought you might have avoided the word’s origin. But I’m even more surprised to see you as a learned woman who doesn’t write! Goodness! How can Mellefont think you love him?
CYNT. Why, faith, madam, he that won’t take my word shall never have it under my hand.
CYNT. Honestly, ma'am, anyone who won't take my word for it will never get it in writing from me.
LADY FROTH. I vow Mellefont’s a pretty gentleman, but methinks he wants a manner.
LADY FROTH. I swear Mellefont’s a handsome guy, but I think he needs some better manners.
CYNT. A manner! What’s that, madam?
CYNT. A manner! What’s that, ma’am?
LADY FROTH. Some distinguishing quality, as, for example, the bel air or brillant of Mr. Brisk; the solemnity, yet complaisance of my lord, or something of his own that should look a little Je-ne-sais-quoish; he is too much a mediocrity, in my mind.
LADY FROTH. Some unique quality, like the bel air or brillant of Mr. Brisk; the seriousness but also the charm of my lord, or something about himself that should have a touch of Je-ne-sais-quoi; to me, he is just too ordinary.
CYNT. He does not indeed affect either pertness or formality; for which I like him. Here he comes.
CYNT. He doesn't really put on any arrogance or formality, and that's why I like him. Here he comes.
LADY FROTH. And my lord with him. Pray observe the difference.
LADY FROTH. And my lord is with him. Please notice the difference.
SCENE II.
[To them] Lord Froth, Mellefont, and Brisk.
[To them] Lord Froth, Mellefont, and Brisk.
CYNT. Impertinent creature! I could almost be angry with her now. [Aside.]
CYNT. What a cheeky person! I could almost be mad at her now. [Aside.]
LADY FROTH. My lord, I have been telling Cynthia how much I have been in love with you; I swear I have; I’m not ashamed to own it now. Ah! it makes my heart leap, I vow I sigh when I think on’t. My dear lord! Ha, ha, ha, do you remember, my lord? [Squeezes him by the hand, looks kindly on him, sighs, and then laughs out.]
LADY FROTH. My lord, I've been telling Cynthia how much I've been in love with you; I swear I have; I’m not ashamed to admit it now. Ah! it makes my heart race, I seriously sigh when I think about it. My dear lord! Ha, ha, ha, do you remember, my lord? [Squeezes his hand, looks at him fondly, sighs, and then bursts out laughing.]
LORD FROTH. Pleasant creature! perfectly well, ah! that look, ay, there it is; who could resist? ’twas so my heart was made a captive first, and ever since t’has been in love with happy slavery.
LORD FROTH. What a delightful person! Absolutely, ah! that expression, yes, there it is; who could say no? That’s how my heart became a captive at first, and ever since, it’s been in love with blissful submission.
LADY FROTH. Oh, that tongue, that dear deceitful tongue! that charming softness in your mien and your expression, and then your bow! Good my lord, bow as you did when I gave you my picture; here, suppose this my picture. [Gives him a pocket-glass.] Pray mind, my lord; ah! he bows charmingly; nay, my lord, you shan’t kiss it so much; I shall grow jealous, I vow now. [He bows profoundly low, then kisses the glass.]
LADY FROTH. Oh, that tongue, that sweet, deceptive tongue! That lovely softness in your face and your expression, and then your bow! Please, my lord, bow like you did when I gave you my picture; here, let’s pretend this is my picture. [Gives him a pocket-glass.] Please be careful, my lord; ah! you bow so charmingly; but, my lord, you shouldn’t kiss it so much; I might get jealous, I swear. [He bows deeply, then kisses the glass.]
LORD FROTH. I saw myself there, and kissed it for your sake.
LORD FROTH. I saw myself there and kissed it for you.
LADY FROTH. Ah! Gallantry to the last degree. Mr. Brisk, you’re a judge; was ever anything so well bred as my lord?
LADY FROTH. Ah! Such charm to the very end. Mr. Brisk, you’re the expert; has there ever been anyone as well-mannered as my lord?
BRISK. Never anything, but your ladyship; let me perish.
BRISK. Never anything, but your lady; I swear.
LADY FROTH. Oh, prettily turned again; let me die, but you have a great deal of wit. Mr. Mellefont, don’t you think Mr. Brisk has a world of wit?
LADY FROTH. Oh, that was a clever comeback; I swear, you have a lot of wit. Mr. Mellefont, don’t you think Mr. Brisk is full of wit?
MEL. O yes, madam.
Sure, ma'am.
BRISK. O dear, madam—
BRISK. Oh dear, ma'am—
LADY FROTH. An infinite deal!
Lady Froth. A whole lot!
BRISK. O heav’ns, madam—
BRISK. Oh heavens, ma'am—
LADY FROTH. More wit than anybody.
LADY FROTH. More cleverness than anyone.
BRISK. I’m everlastingly your humble servant, deuce take me, madam.
BRISK. I'm always your humble servant, I swear, madam.
LORD FROTH. Don’t you think us a happy couple?
LORD FROTH. Don't you think we're a happy couple?
CYNT. I vow, my lord, I think you the happiest couple in the world, for you’re not only happy in one another, and when you are together, but happy in yourselves, and by yourselves.
CYNT. I swear, my lord, I think you’re the happiest couple in the world because you’re not only happy with each other when you’re together, but you’re also happy on your own.
LORD FROTH. I hope Mellefont will make a good husband too.
LORD FROTH. I hope Mellefont will be a good husband as well.
CYNT. ’Tis my interest to believe he will, my Lord.
CYNT. It's in my interest to believe he will, my Lord.
LORD FROTH. D’ye think he’ll love you as well as I do my wife? I’m afraid not.
LORD FROTH. Do you think he'll love you as much as I love my wife? I'm afraid not.
CYNT. I believe he’ll love me better.
CYNT. I think he’ll love me more.
LORD FROTH. Heav’ns! that can never be. But why do you think so?
LORD FROTH. Oh my! That can never be. But why do you think that?
CYNT. Because he has not so much reason to be fond of himself.
CYNT. Because he doesn't have much reason to be fond of himself.
LORD FROTH. Oh, your humble servant for that, dear madam. Well, Mellefont, you’ll be a happy creature.
LORD FROTH. Oh, I'm at your service for that, dear madam. Well, Mellefont, you're going to be a lucky guy.
MEL. Ay, my lord, I shall have the same reason for my happiness that your lordship has, I shall think myself happy.
MEL. Yes, my lord, I will have the same reason for my happiness that you have; I will consider myself happy.
LORD FROTH. Ah, that’s all.
LORD FROTH. Ah, that’s it.
BRISK. [To Lady Froth.] Your ladyship is in the right; but, i’gad, I’m wholly turned into satire. I confess I write but seldom, but when I do—keen iambics, i’gad. But my lord was telling me your ladyship has made an essay toward an heroic poem.
BRISK. [To Lady Froth.] You're absolutely right, my lady; but, I swear, I'm completely turned into a satirist. I admit I don’t write often, but when I do—sharp iambic verses, I swear. But my lord was telling me that you've attempted an epic poem.
LADY FROTH. Did my lord tell you? Yes, I vow, and the subject is my lord’s love to me. And what do you think I call it? I dare swear you won’t guess—The Sillabub, ha, ha, ha.
LADY FROTH. Did my lord tell you? Yes, I swear, and the topic is my lord’s love for me. And what do you think I call it? I bet you won’t guess—The Sillabub, ha, ha, ha.
BRISK. Because my lord’s title’s Froth, i’gad, ha, ha, ha, deuce take me, very à propos and surprising, ha, ha, ha.
BRISK. Because my lord’s title is Froth, I swear, ha, ha, ha, damn it, very fitting and unexpected, ha, ha, ha.
LADY FROTH. He, ay, is not it? And then I call my lord Spumoso; and myself, what d’ye think I call myself?
LADY FROTH. He, yeah, isn’t he? And then I call my lord Spumoso; and what do you think I call myself?
BRISK. Lactilla, may be,—i’gad, I cannot tell.
BRISK. Lactilla, maybe,—I honestly can’t say.
LADY FROTH. Biddy, that’s all; just my own name.
LADY FROTH. Biddy, that’s it; just my name.
BRISK. Biddy! I’gad, very pretty. Deuce take me if your ladyship has not the art of surprising the most naturally in the world. I hope you’ll make me happy in communicating the poem.
BRISK. Biddy! Wow, that's really nice. Honestly, your ladyship has a talent for surprising people in the most natural way. I hope you’ll make me happy by sharing the poem.
LADY FROTH. Oh, you must be my confidant, I must ask your advice.
LADY FROTH. Oh, you have to be my confidant; I really need to ask for your advice.
BRISK. I’m your humble servant, let me perish. I presume your ladyship has read Bossu?
BRISK. I'm your humble servant, let me go. I assume your ladyship has read Bossu?
LADY FROTH. Oh yes, and Racine, and Dacier upon Aristotle and Horace. My lord, you must not be jealous, I’m communicating all to Mr. Brisk.
LADY FROTH. Oh yes, and Racine, and Dacier on Aristotle and Horace. My lord, you shouldn't be jealous, I'm sharing everything with Mr. Brisk.
LORD FROTH. No, no, I’ll allow Mr. Brisk; have you nothing about you to shew him, my dear?
LORD FROTH. No, no, I’ll let Mr. Brisk in; don’t you have anything to show him, my dear?
LADY FROTH. Yes, I believe I have. Mr. Brisk, come, will you go into the next room? and there I’ll shew you what I have.
LADY FROTH. Yes, I think I have. Mr. Brisk, come on, will you go into the next room? I'll show you what I have there.
LORD FROTH. I’ll walk a turn in the garden, and come to you.
LORD FROTH. I'll take a stroll in the garden and join you shortly.
SCENE III.
Mellefont, Cynthia.
Mellefont, Cynthia.
MEL. You’re thoughtful, Cynthia?
MEL. You're deep, Cynthia?
CYNT. I’m thinking, though marriage makes man and wife one flesh, it leaves ’em still two fools; and they become more conspicuous by setting off one another.
CYNT. I'm reflecting that even though marriage unites a man and woman as one, it still leaves them as two fools; and they become even more obvious by highlighting each other's foolishness.
MEL. That’s only when two fools meet, and their follies are opposed.
MEL. That's only when two idiots come together, and their nonsense clashes.
CYNT. Nay, I have known two wits meet, and by the opposition of their wit render themselves as ridiculous as fools. ’Tis an odd game we’re going to play at. What think you of drawing stakes, and giving over in time?
CYNT. No, I've seen two clever people meet, and by challenging each other's intelligence, make themselves look as silly as fools. It's a strange game we're about to play. What do you think about setting limits and stopping while we're ahead?
MEL. No, hang’t, that’s not endeavouring to win, because it’s possible we may lose; since we have shuffled and cut, let’s even turn up trump now.
MEL. No, wait, that’s not trying to win, because we might lose; since we’ve shuffled and cut, let’s just reveal the trump card now.
CYNT. Then I find it’s like cards, if either of us have a good hand it is an accident of fortune.
CYNT. Then I realize it’s like cards; if either of us has a good hand, it’s just luck.
MEL. No, marriage is rather like a game at bowls: fortune indeed makes the match, and the two nearest, and sometimes the two farthest, are together, but the game depends entirely upon judgment.
MEL. No, marriage is a lot like a game of bowling: luck might set it up, and sometimes it’s the closest and farthest that end up together, but the outcome really relies on good judgment.
CYNT. Still it is a game, and consequently one of us must be a loser.
CYNT. It’s still a game, which means one of us has to lose.
MEL. Not at all; only a friendly trial of skill, and the winnings to be laid out in an entertainment. What’s here, the music? Oh, my lord has promised the company a new song; we’ll get ’em to give it us by the way. [Musicians crossing the stage.] Pray let us have the favour of you, to practise the song before the company hear it.
MEL. Not at all; just a friendly challenge, and the prize will go towards a fun event. What's this, music? Oh, my lord promised the guests a new song; let’s get them to perform it for us. [Musicians crossing the stage.] Please, let us hear it first so we can practice before the guests listen to it.
SONG.
Track.
I.
I.
Cynthia frowns whene’er I woo her,
Yet she’s vext if I give over;
Much she fears I should undo her,
But much more to lose her lover:
Thus, in doubting, she refuses;
And not winning, thus she loses.
Cynthia frowns whenever I try to win her over,
But she's upset if I stop trying;
She fears I might break her heart,
But she fears even more losing her lover:
So, in her doubt, she says no;
And by not giving in, she ends up losing.
II.
II.
Prithee, Cynthia, look behind you,
Age and wrinkles will o’ertake you;
Then too late desire will find you,
When the power must forsake you:
Think, O think o’ th’ sad condition,
To be past, yet wish fruition.
Please, Cynthia, look behind you,
Age and wrinkles will catch up to you;
Then it will be too late for desire to find you,
When your strength has to leave you:
Think, oh think of the sad situation,
To be past your prime, yet longing for what could be.
MEL. You shall have my thanks below. [To the musicians, they go out.]
MEL. You'll have my thanks down there. [To the musicians, they exit.]
SCENE IV.
[To them] Sir Paul Plyant and Lady Plyant.
[To them] Sir Paul Plyant and Lady Plyant.
SIR PAUL. Gadsbud! I am provoked into a fermentation, as my Lady Froth says; was ever the like read of in story?
SIR PAUL. Good grief! I’m so worked up that, as Lady Froth puts it, I'm in a frenzy; has anything like this ever been written about in a story?
LADY PLYANT. Sir Paul, have patience, let me alone to rattle him up.
LADY PLYANT. Sir Paul, just be patient and let me handle this.
SIR PAUL. Pray, your ladyship, give me leave to be angry. I’ll rattle him up, I warrant you, I’ll firk him with a certiorari.
SIR PAUL. Please, your ladyship, allow me to be angry. I’ll stir him up, I promise you, I’ll hit him with a certiorari.
LADY PLYANT. You firk him, I’ll firk him myself; pray, Sir Paul, hold you contented.
LADY PLYANT. You deal with him, I’ll handle him myself; please, Sir Paul, just stay calm.
CYNT. Bless me, what makes my father in such a passion? I never saw him thus before.
CYNT. Wow, what's got my dad so worked up? I've never seen him like this before.
SIR PAUL. Hold yourself contented, my Lady Plyant. I find passion coming upon me by inflation, and I cannot submit as formerly, therefore give way.
SIR PAUL. Stay calm, Lady Plyant. I'm feeling more passionate than before, and I can't just accept things like I used to, so please back off.
LADY PLYANT. How now! will you be pleased to retire and—
LADY PLYANT. Hey there! Would you mind stepping back and—
SIR PAUL. No, marry will I not be pleased: I am pleased to be angry, that’s my pleasure at this time.
SIR PAUL. No, I definitely won't be pleased: I actually enjoy being angry, that's what makes me happy right now.
MEL. What can this mean?
MEL. What does this mean?
LADY PLYANT. Gads my life, the man’s distracted; why, how now, who are you? What am I? Slidikins, can’t I govern you? What did I marry you for? Am I not to be absolute and uncontrollable? Is it fit a woman of my spirit and conduct should be contradicted in a matter of this concern?
LADY PLYANT. Goodness, the man’s lost his mind; wait, who are you? What am I? Seriously, can’t I control you? What did I marry you for? Am I not supposed to be in charge and unchallenged? Should a woman like me, with my attitude and behavior, be argued with about something this important?
SIR PAUL. It concerns me and only me. Besides, I’m not to be governed at all times. When I am in tranquillity, my Lady Plyant shall command Sir Paul; but when I am provoked to fury, I cannot incorporate with patience and reason: as soon may tigers match with tigers, lambs with lambs, and every creature couple with its foe, as the poet says.
SIR PAUL. It’s about me and only me. Besides, I shouldn’t be controlled all the time. When I’m calm, my Lady Plyant can direct Sir Paul; but when I’m pushed to anger, I can’t blend patience and reason: it’s as unlikely as tigers matching tigers, lambs with lambs, and every creature pairing with its enemy, as the poet says.
LADY PLYANT. He’s hot-headed still! ’Tis in vain to talk to you; but remember I have a curtain-lecture for you, you disobedient, headstrong brute.
LADY PLYANT. He's still so hot-headed! It's pointless to talk to you; but keep in mind I have a lecture prepared for you, you disobedient, stubborn brute.
SIR PAUL. No, ’tis because I won’t be headstrong, because I won’t be a brute, and have my head fortified, that I am thus exasperated. But I will protect my honour, and yonder is the violator of my fame.
SIR PAUL. No, it’s because I won’t be stubborn, because I won’t be cruel, and have my pride set in stone, that I am this frustrated. But I will defend my honor, and there is the one who has tarnished my reputation.
LADY PLYANT. ’Tis my honour that is concerned, and the violation was intended to me. Your honour! You have none but what is in my keeping, and I can dispose of it when I please: therefore don’t provoke me.
LADY PLYANT. It’s my honor that’s at stake, and the disrespect was aimed at me. Your honor! You only have what I allow you to have, and I can take it away whenever I want: so don’t push me.
SIR PAUL. Hum, gadsbud, she says true. Well, my lady, march on; I will fight under you, then: I am convinced, as far as passion will permit. [Lady Plyant and Sir Paul come up to Mellefont.]
SIR PAUL. Hmm, damn it, she's right. Alright, my lady, lead the way; I’ll fight alongside you then: I’m convinced, as much as passion allows. [Lady Plyant and Sir Paul come up to Mellefont.]
LADY PLYANT. Inhuman and treacherous—
LADY PLYANT. Cruel and deceitful—
SIR PAUL. Thou serpent and first tempter of womankind.
SIR PAUL. You snake and the first tempter of women.
CYNT. Bless me! Sir, madam, what mean you?
CYNT. Bless me! Sir, madam, what do you mean?
SIR PAUL. Thy, Thy, come away, Thy; touch him not. Come hither, girl; go not near him, there’s nothing but deceit about him. Snakes are in his peruke, and the crocodile of Nilus is in his belly; he will eat thee up alive.
SIR PAUL. You, you, come away, you; don’t touch him. Come here, girl; don’t go near him, he’s nothing but deceit. There are snakes in his wig, and the crocodile of the Nile is in his belly; he will devour you alive.
LADY PLYANT. Dishonourable, impudent creature!
Lady Plyant. Disgraceful, shameless person!
MEL. For heav’n’s sake, madam, to whom do you direct this language?
MEL. For heaven's sake, ma'am, who are you directing this language to?
LADY PLYANT. Have I behaved myself with all the decorum and nicety befitting the person of Sir Paul’s wife? Have I preserved my honour as it were in a snow-house for these three years past? Have I been white and unsullied even by Sir Paul himself?
LADY PLYANT. Have I conducted myself with all the decorum and grace expected of Sir Paul’s wife? Have I maintained my honor, like it was kept in a snow-house, for the past three years? Have I remained pure and unblemished even by Sir Paul himself?
SIR PAUL. Nay, she has been an invincible wife, even to me; that’s the truth on’t.
SIR PAUL. No, she has been an unbeatable wife, even to me; that’s the truth of it.
LADY PLYANT. Have I, I say, preserved myself like a fair sheet of paper for you to make a blot upon?
LADY PLYANT. Have I, I ask, kept myself like a clean sheet of paper for you to mess up?
SIR PAUL. And she shall make a simile with any woman in England.
SIR PAUL. And she can compare herself to any woman in England.
MEL. I am so amazed, I know not what to say.
MEL. I'm so amazed, I don’t know what to say.
SIR PAUL. Do you think my daughter, this pretty creature—gadsbud, she’s a wife for a cherubim!—do you think her fit for nothing but to be a stalking horse, to stand before you, while you take aim at my wife? Gadsbud, I was never angry before in my life, and I’ll never be appeased again.
SIR PAUL. Do you really think my daughter, this beautiful girl—goodness, she’s perfect for an angel!—do you believe she’s only good to be a decoy, standing in front of you while you go after my wife? Goodness, I’ve never been this angry in my life, and I won’t be calmed down again.
MEL. Hell and damnation! This is my aunt; such malice can be engendered nowhere else. [Aside.]
MEL. Hell and damnation! This is my aunt; such bitterness can come from nowhere else. [Aside.]
LADY PLYANT. Sir Paul, take Cynthia from his sight; leave me to strike him with the remorse of his intended crime.
LADY PLYANT. Sir Paul, take Cynthia away from him; let me confront him with the guilt of his planned crime.
CYNT. Pray, sir, stay, hear him; I dare affirm he’s innocent.
CYNT. Please, sir, wait, listen to him; I truly believe he’s innocent.
SIR PAUL. Innocent! Why, hark’ee—come hither, Thy—hark’ee, I had it from his aunt, my sister Touchwood. Gadsbud, he does not care a farthing for anything of thee but thy portion. Why, he’s in love with my wife. He would have tantalised thee, and made a cuckold of thy poor father, and that would certainly have broke my heart. I’m sure, if ever I should have horns, they would kill me; they would never come kindly—I should die of ’em like a child that was cutting his teeth—I should indeed, Thy—therefore come away; but providence has prevented all, therefore come away when I bid you.
SIR PAUL. Innocent! Hey, listen—come here. I heard it from his aunt, my sister Touchwood. Honestly, he doesn’t care at all about you except for your inheritance. He’s actually in love with my wife. He would have messed with you and embarrassed your poor father, and that would definitely have broken my heart. I’m sure if I ever had to deal with that kind of situation, it would kill me; it wouldn’t happen easily—I’d die from it like a child teething—I really would. So come on; but luckily, that’s been avoided, so just come along when I ask you.
CYNT. I must obey.
I have to obey.
SCENE V.
Lady Plyant, Mellefont.
Lady Plyant, Mellefont.
LADY PLYANT. Oh, such a thing! the impiety of it startles me—to wrong so good, so fair a creature, and one that loves you tenderly—’tis a barbarity of barbarities, and nothing could be guilty of it—
LADY PLYANT. Oh, how outrageous! The idea of it shocks me—how could someone mistreat such a good, beautiful person who loves you so deeply? It’s an unforgivable cruelty, and only the most heartless could do such a thing—
MEL. But the greatest villain imagination can form, I grant it; and next to the villainy of such a fact is the villainy of aspersing me with the guilt. How? which way was I to wrong her? For yet I understand you not.
MEL. But the worst villain that anyone could dream up, I admit it; and next to that villainy is the injustice of blaming me for the crime. How? In what way was I supposed to wrong her? Because I still don’t understand you.
LADY PLYANT. Why, gads my life, cousin Mellefont, you cannot be so peremptory as to deny it, when I tax you with it to your face? for now Sir Paul’s gone, you are corum nobus.
LADY PLYANT. Well, good heavens, cousin Mellefont, you can't be so stubborn as to deny it when I call you out on it directly? Now that Sir Paul's gone, you are corum nobus.
MEL. By heav’n, I love her more than life or—
MEL. By God, I love her more than life itself or—
LADY PLYANT. Fiddle faddle, don’t tell me of this and that, and everything in the world, but give me mathemacular demonstration; answer me directly. But I have not patience. Oh, the impiety of it, as I was saying, and the unparalleled wickedness! O merciful Father! How could you think to reverse nature so, to make the daughter the means of procuring the mother?
LADY PLYANT. Nonsense, don’t give me all this talk about this and that; just give me a clear mathematical explanation and answer me directly. But I have no patience. Oh, the blasphemy of it, as I was saying, and the incredible wickedness! O merciful Father! How could you even think of turning nature upside down like this, making the daughter the way to get to the mother?
MEL. The daughter to procure the mother!
MEL. The daughter to get the mother!
LADY PLYANT. Ay, for though I am not Cynthia’s own mother, I am her father’s wife, and that’s near enough to make it incest.
LADY PLYANT. Yes, even though I’m not Cynthia’s actual mother, I’m her father’s wife, and that’s close enough to make it incest.
MEL. Incest! O my precious aunt, and the devil in conjunction. [Aside.]
MEL. Incest! Oh my dear aunt, and the devil together. [Aside.]
LADY PLYANT. Oh, reflect upon the horror of that, and then the guilt of deceiving everybody; marrying the daughter, only to make a cuckold of the father; and then seducing me, debauching my purity, and perverting me from the road of virtue in which I have trod thus long, and never made one trip, not one faux pas. Oh, consider it! What would you have to answer for if you should provoke me to frailty? Alas! humanity is feeble, heav’n knows! very feeble, and unable to support itself.
LADY PLYANT. Oh, think about how horrifying that is, and then the guilt of deceiving everyone; marrying the daughter just to make a fool of the father; and then seducing me, corrupting my innocence, and leading me away from the path of virtue that I have walked for so long without stumbling, not once, not a single faux pas. Oh, consider it! What would you have to answer for if you pushed me towards weakness? Alas! Humanity is weak, heaven knows! Very weak, and unable to stand on its own.
MEL. Where am I? is it day? and am I awake? Madam—
MEL. Where am I? Is it daytime? Am I awake? Madam—
LADY PLYANT. And nobody knows how circumstances may happen together. To my thinking, now I could resist the strongest temptation. But yet I know, ’tis impossible for me to know whether I could or not; there’s no certainty in the things of this life.
LADY PLYANT. And nobody knows how situations might come together. Honestly, I feel like I could resist the strongest temptation right now. But I also know it’s impossible for me to really know if I could or not; there’s no certainty in the things of this life.
MEL. Madam, pray give me leave to ask you one question.
MEL. Madam, may I please ask you a question?
LADY PLYANT. O Lord, ask me the question; I’ll swear I’ll refuse it, I swear I’ll deny it—therefore don’t ask me; nay, you shan’t ask me, I swear I’ll deny it. O Gemini, you have brought all the blood into my face; I warrant I am as red as a turkey-cock. O fie, cousin Mellefont!
LADY PLYANT. Oh Lord, just ask me the question; I swear I’ll refuse to answer, I promise I’ll deny it—so just don’t ask! No, you can’t ask me, I swear I’ll deny it. Oh my, you’ve made me blush; I bet I’m as red as a turkey. Oh come on, cousin Mellefont!
MEL. Nay, madam, hear me; I mean—
MEL. No, ma'am, listen to me; what I mean—
LADY PLYANT. Hear you? No, no; I’ll deny you first and hear you afterwards. For one does not know how one’s mind may change upon hearing. Hearing is one of the senses, and all the senses are fallible. I won’t trust my honour, I assure you; my honour is infallible and uncomeatable.
LADY PLYANT. Can you hear me? No, no; I’ll reject you first and listen later. You never know how your opinion might shift after you hear something. Hearing is one of the senses, and all the senses can make mistakes. I won’t risk my honor, I promise you; my honor is reliable and untouchable.
MEL. For heav’n’s sake, madam—
MEL. For heaven's sake, ma'am—
LADY PLYANT. Oh, name it no more. Bless me, how can you talk of heav’n, and have so much wickedness in your heart? May be you don’t think it a sin—they say some of you gentlemen don’t think it a sin. May be it is no sin to them that don’t think it so; indeed, if I did not think it a sin—But still my honour, if it were no sin. But then, to marry my daughter for the conveniency of frequent opportunities, I’ll never consent to that; as sure as can be, I’ll break the match.
LADY PLYANT. Oh, don’t say that anymore. Goodness, how can you talk about heaven and have so much evil in your heart? Maybe you don’t see it as a sin—they say some of you men don’t think it is a sin. Maybe it’s not a sin for those who don’t believe it is; honestly, if I didn’t see it as a sin—But still, my honor, even if it weren’t a sin. But to marry my daughter just for the sake of having convenient opportunities, I will never agree to that; I’ll definitely break off the engagement.
MEL. Death and amazement! Madam, upon my knees—
MEL. Death and shock! Ma'am, I'm on my knees—
LADY PLYANT. Nay, nay, rise up; come, you shall see my good-nature. I know love is powerful, and nobody can help his passion. ’Tis not your fault; nor, I swear, it is not mine. How can I help it, if I have charms? And how can you help it, if you are made a captive? I swear it is pity it should be a fault. But my honour,—well, but your honour, too—but the sin!—well, but the necessity—O Lord, here’s somebody coming, I dare not stay. Well, you must consider of your crime; and strive as much as can be against it,—strive, be sure. But don’t be melancholic; don’t despair. But never think that I’ll grant you anything. O Lord, no. But be sure you lay aside all thoughts of the marriage, for though I know you don’t love Cynthia, only as a blind for your passion to me, yet it will make me jealous. O Lord, what did I say? Jealous! no, no, I can’t be jealous, for I must not love you; therefore don’t hope,—but don’t despair neither. Oh, they’re coming, I must fly.
LADY PLYANT. No, no, get up; come on, you’ll see I’m a good sport. I know love is strong, and no one can control their feelings. It’s not your fault; and I swear, it’s not mine either. How can I help it if I have gifts? And how can you help it if you’re caught up in it? I swear it’s a shame it should be a problem. But my honor—well, your honor too—but the sin!—well, but the necessity—Oh no, someone’s coming, I can’t stay. Well, you need to think about your wrongs and do your best to resist it—make sure you try hard. But don’t be down; don’t lose hope. But don’t ever think I’ll give you anything. Oh no. Just make sure to forget all thoughts of marriage, because even though I know you don’t love Cynthia, just using her to hide your feelings for me, it’ll still make me jealous. Oh no, what did I just say? Jealous! No, no, I can’t be jealous because I mustn’t love you; so don’t expect it—but don’t lose hope either. Oh, they’re coming, I have to go.
SCENE VI.
Mellefont alone.
Mellefont by themselves.
MEL. [After a pause.] So then, spite of my care and foresight, I am caught, caught in my security. Yet this was but a shallow artifice, unworthy of my Machiavellian aunt. There must be more behind: this is but the first flash, the priming of her engine. Destruction follows hard, if not most presently prevented.
MEL. [After a pause.] So then, despite my care and planning, I've been caught, caught in my own safety. Still, this was just a shallow trick, not worthy of my Machiavellian aunt. There has to be more to it: this is just the first hint, the setup for her game. Destruction is close behind, unless it's stopped right away.
SCENE VII.
[To him] Maskwell.
To him Maskwell.
MEL. Maskwell, welcome, thy presence is a view of land, appearing to my shipwrecked hopes. The witch has raised the storm, and her ministers have done their work: you see the vessels are parted.
MEL. Maskwell, welcome, your presence is like a view of land, showing hope to my shipwrecked dreams. The witch has stirred up the storm, and her followers have carried out their plans: you can see the ships are separated.
MASK. I know it. I met Sir Paul towing away Cynthia. Come, trouble not your head; I’ll join you together ere to-morrow morning, or drown between you in the attempt.
MASK. I know it. I saw Sir Paul taking Cynthia away. Come on, don’t worry about it; I’ll get you two together by tomorrow morning, or I’ll drown trying.
MEL. There’s comfort in a hand stretched out to one that’s sinking; though ne’er so far off.
MEL. There’s comfort in reaching out a hand to someone who’s struggling, even if they seem really far away.
MASK. No sinking, nor no danger. Come, cheer up; why, you don’t know that while I plead for you, your aunt has given me a retaining fee. Nay, I am your greatest enemy, and she does but journey-work under me.
MASK. No sinking, no danger. Come on, cheer up; you don’t realize that while I’m advocating for you, your aunt has actually paid me to represent her. Honestly, I’m your biggest enemy, and she’s just doing what I tell her to do.
MEL. Ha! how’s this?
MEL. Ha! How’s this?
MASK. What d’ye think of my being employed in the execution of all her plots? Ha, ha, ha, by heav’n, it’s true: I have undertaken to break the match; I have undertaken to make your uncle disinherit you; to get you turned out of doors; and to—ha, ha, ha, I can’t tell you for laughing. Oh, she has opened her heart to me! I am to turn you a-grazing, and to—ha, ha, ha, marry Cynthia myself. There’s a plot for you.
MASK. What do you think about me getting involved in all her schemes? Ha, ha, ha, it's true: I've taken on the job of breaking up the engagement; I’ve committed to making your uncle disinherit you; to getting you kicked out; and to—ha, ha, ha, I can't tell you because I'm laughing so hard. Oh, she has really confided in me! I'm supposed to send you off to pasture and to—ha, ha, ha, marry Cynthia myself. There's a plan for you.
MEL. Ha! Oh, see, I see my rising sun! Light breaks through clouds upon me, and I shall live in day—Oh, my Maskwell! how shall I thank or praise thee? Thou hast outwitted woman. But, tell me, how couldst thou thus get into her confidence? Ha! How? But was it her contrivance to persuade my Lady Plyant to this extravagant belief?
MEL. Ha! Oh, look, I see my new beginning! Light breaks through the clouds, and I'm ready to embrace the day—Oh, my Maskwell! How can I thank or praise you? You've outsmarted a woman. But tell me, how did you manage to gain her trust like that? Ha! How? But was it her plan to convince my Lady Plyant of this ridiculous belief?
MASK. It was; and to tell you the truth, I encouraged it for your diversion. Though it made you a little uneasy for the present, yet the reflection of it must needs be entertaining. I warrant she was very violent at first.
MASK. It was; and to be honest, I supported it for your entertainment. Although it made you a bit uncomfortable at the moment, thinking back on it should be amusing. I bet she was really intense at first.
MEL. Ha, ha, ha, ay, a very fury; but I was most afraid of her violence at last. If you had not come as you did, I don’t know what she might have attempted.
MEL. Ha, ha, ha, oh, what a rage; but I was really scared of how violent she could get in the end. If you hadn’t shown up when you did, I can’t imagine what she might have tried.
MASK. Ha, ha, ha, I know her temper. Well, you must know, then, that all my contrivances were but bubbles, till at last I pretended to have been long secretly in love with Cynthia; that did my business, that convinced your aunt I might be trusted; since it was as much my interest as hers to break the match. Then, she thought my jealousy might qualify me to assist her in her revenge. And, in short, in that belief, told me the secrets of her heart. At length we made this agreement, if I accomplish her designs (as I told you before) she has engaged to put Cynthia with all her fortune into my power.
MASK. Ha, ha, ha, I know how her temper is. Well, you must know that all my schemes were just illusions until I finally pretended to be secretly in love with Cynthia; that did the trick, convincing your aunt that I could be trusted. It was in both our interests to break off the engagement. She figured my jealousy might qualify me to help her with her revenge. So, believing that, she shared the secrets of her heart with me. Eventually, we made this deal: if I help her carry out her plans (as I mentioned before), she has promised to give me Cynthia along with her entire fortune.
MEL. She is most gracious in her favour. Well, and, dear Jack, how hast thou contrived?
MEL. She is very gracious in her favor. Well, dear Jack, how have you managed?
MASK. I would not have you stay to hear it now; for I don’t know but she may come this way. I am to meet her anon; after that, I’ll tell you the whole matter. Be here in this gallery an hour hence; by that time I imagine our consultation may be over.
MASK. I don't want you to stay and hear it now; she might come this way. I'm supposed to meet her soon; after that, I'll tell you everything. Be here in this gallery in an hour; by then, I think our discussion might be done.
MEL. I will; till then success attend thee.
MEL. I will; until then, may success be with you.
SCENE VIII.
Maskwell alone.
Maskwell by myself.
Till then, success will attend me; for when I meet you, I meet the only obstacle to my fortune. Cynthia, let thy beauty gild my crimes; and whatsoever I commit of treachery or deceit, shall be imputed to me as a merit. Treachery? What treachery? Love cancels all the bonds of friendship, and sets men right upon their first foundations.
Till then, success will be on my side; because when I meet you, I face the only hurdle to my fortune. Cynthia, let your beauty cover my wrongdoings; and whatever I do that’s deceptive or disloyal will be seen as a virtue. Deceit? What deceit? Love erases all the ties of friendship and puts people back on their original paths.
Duty to kings, piety to parents, gratitude to benefactors, and fidelity to friends, are different and particular ties. But the name of rival cuts ’em all asunder, and is a general acquittance. Rival is equal, and love like death an universal leveller of mankind. Ha! But is there not such a thing as honesty? Yes, and whosoever has it about him, bears an enemy in his breast. For your honest man, as I take it, is that nice, scrupulous, conscientious person, who will cheat nobody but himself; such another coxcomb as your wise man, who is too hard for all the world, and will be made a fool of by nobody but himself; ha, ha, ha. Well, for wisdom and honesty give me cunning and hypocrisy; oh, ’tis such a pleasure to angle for fair-faced fools! Then that hungry gudgeon credulity will bite at anything. Why, let me see, I have the same face, the same words and accents when I speak what I do think, and when I speak what I do not think, the very same; and dear dissimulation is the only art not to be known from nature.
Duty to kings, respect for parents, gratitude to those who help us, and loyalty to friends are different and specific connections. But the term rival cuts through all of that and serves as a broad excuse. A rival is equal, and love, like death, levels everyone out. Ha! But isn’t there such a thing as honesty? Yes, and anyone who has it is their own worst enemy. An honest person, as I see it, is that overly careful, scrupulous, conscientious type who will deceive no one but themselves; just like that pretentious wise person who claims to be too clever for everyone and ends up being fooled only by themselves; ha, ha, ha. Well, when it comes to wisdom and honesty, I prefer cunning and hypocrisy; oh, it’s such a thrill to fish for naive fools! Then that gullible sucker, credulity, will bite at anything. Let me see, I have the same face, the same words and accents when I say what I truly think, and when I say what I don’t think, exactly the same; and dear dissembling is the only skill that’s indistinguishable from nature.
Why will mankind be fools, and be deceived,
And why are friends’ and lovers’ oaths believed,
When each, who searches strictly his own mind,
May so much fraud and power of baseness find?Why do people act foolishly and get fooled,
And why do we believe the promises of friends and lovers,
When anyone who really reflects on their own thoughts,
Can find so much deceit and the potential for evil?
ACT III.
SCENE I.
Lord Touchwood and Lady Touchwood.
Lord Touchwood and Lady Touchwood.
LADY TOUCH. My lord, can you blame my brother Plyant if he refuse his daughter upon this provocation? The contract’s void by this unheard-of impiety.
LADY TOUCH. My lord, can you really blame my brother Plyant for refusing his daughter after this? The contract is null and void due to this outrageous disrespect.
LORD TOUCH. I don’t believe it true; he has better principles. Pho, ’tis nonsense. Come, come, I know my Lady Plyant has a large eye, and would centre everything in her own circle; ’tis not the first time she has mistaken respect for love, and made Sir Paul jealous of the civility of an undesigning person, the better to bespeak his security in her unfeigned pleasures.
LORD TOUCH. I can’t believe that’s true; he has better values. Come on, that’s just silly. I know my Lady Plyant has a big ego and wants everything focused on her; it’s not the first time she’s confused respect with love and made Sir Paul jealous of someone’s kindness just to secure her own enjoyment.
LADY TOUCH. You censure hardly, my lord; my sister’s honour is very well known.
LADY TOUCH. You’re being really harsh, my lord; my sister’s reputation is well-established.
LORD TOUCH. Yes, I believe I know some that have been familiarly acquainted with it. This is a little trick wrought by some pitiful contriver, envious of my nephew’s merit.
LORD TOUCH. Yes, I think I know a few people who have been closely involved with it. This is just a little scheme created by some pathetic schemer, jealous of my nephew’s success.
LADY TOUCH. Nay, my lord, it may be so, and I hope it will be found so. But that will require some time; for in such a case as this, demonstration is necessary.
LADY TOUCH. No, my lord, it might be true, and I hope it turns out that way. But that will take some time; in a situation like this, proof is essential.
LORD TOUCH. There should have been demonstration of the contrary too, before it had been believed.
LORD TOUCH. There should have been evidence of the opposite too, before it was believed.
LADY TOUCH. So I suppose there was.
LADY TOUCH. So I guess there was.
LORD TOUCH. How? Where? When?
LORD TOUCH. How? Where? When?
LADY TOUCH. That I can’t tell; nay, I don’t say there was. I am willing to believe as favourably of my nephew as I can.
LADY TOUCH. I can't say for sure; in fact, I'm not claiming there was. I'm trying to think the best of my nephew as much as possible.
LORD TOUCH. I don’t know that. [Half aside.]
LORD TOUCH. I’m not sure about that. [Half aside.]
LADY TOUCH. How? Don’t you believe that, say you, my lord?
LADY TOUCH. How? Don't you believe that, for example, my lord?
LORD TOUCH. No, I don’t say so. I confess I am troubled to find you so cold in his defence.
LORD TOUCH. No, I don’t think so. I admit I'm troubled to see you so indifferent in defending him.
LADY TOUCH. His defence! Bless me, would you have me defend an ill thing?
LADY TOUCH. His defense! Seriously, do you expect me to stand up for something wrong?
LORD TOUCH. You believe it, then?
LORD TOUCH. You really believe it, then?
LADY TOUCH. I don’t know; I am very unwilling to speak my thoughts in anything that may be to my cousin’s disadvantage: besides, I find, my lord, you are prepared to receive an ill impression from any opinion of mine which is not consenting with your own. But, since I am like to be suspected in the end, and ’tis a pain any longer to dissemble, I own it to you; in short I do believe it, nay, and can believe anything worse, if it were laid to his charge. Don’t ask me my reasons, my lord, for they are not fit to be told you.
LADY TOUCH. I don’t know; I really don’t want to say anything that could hurt my cousin. Plus, I can tell, my lord, that you’re quick to judge me if I don’t agree with you. But since I’ll probably be suspected anyway, and it’s exhausting to pretend, I’ll be honest with you; in short, I believe it, and I could believe even worse if it were suggested. Don’t ask me for my reasons, my lord, because they’re not something you should hear.
LORD TOUCH. I’m amazed: there must be something more than ordinary in this. [Aside.] Not fit to be told me, madam? You can have no interests wherein I am not concerned, and consequently the same reasons ought to be convincing to me, which create your satisfaction or disquiet.
LORD TOUCH. I'm surprised: there has to be something unusual about this. [Aside] Not appropriate to share with me, ma'am? You can't have any interests that I’m not involved in, so the same reasons that give you satisfaction or worry should also make sense to me.
LADY TOUCH. But those which cause my disquiet I am willing to have remote from your hearing. Good my lord, don’t press me.
LADY TOUCH. But the things that trouble me, I want them kept away from your ears. Please, my lord, don't push me.
LORD TOUCH. Don’t oblige me to press you.
LORD TOUCH. Don't make me have to push you.
LADY TOUCH. Whatever it was, ’tis past. And that is better to be unknown which cannot be prevented; therefore let me beg you to rest satisfied.
LADY TOUCH. Whatever it was, it’s over now. And it’s better for us not to dwell on things we can’t change; so please, just be at ease.
LORD TOUCH. When you have told me, I will.
LORD TOUCH. When you tell me, I will.
LADY TOUCH. You won’t.
GIRL TOUCH. You won't.
LORD TOUCH. By my life, my dear, I will.
LORD TOUCH. I swear, my dear, I will.
LADY TOUCH. What if you can’t?
LADY TOUCH. What if you can't?
LORD TOUCH. How? Then I must know, nay, I will. No more trifling. I charge you tell me. By all our mutual peace to come; upon your duty—
LORD TOUCH. How? Then I must know, and I will. No more messing around. I insist that you tell me. For the sake of our future peace; it's your duty—
LADY TOUCH. Nay, my lord, you need say no more, to make me lay my heart before you, but don’t be thus transported; compose yourself. It is not of concern to make you lose one minute’s temper. ’Tis not, indeed, my dear. Nay, by this kiss you shan’t be angry. O Lord, I wish I had not told you anything. Indeed, my lord, you have frighted me. Nay, look pleased, I’ll tell you.
LADY TOUCH. No, my lord, you don’t need to say anything more to make me open my heart to you, but please calm down; get a grip. I don't want to make you lose your temper for even a minute. Really, it’s not worth it, my dear. Honestly, this kiss will keep you from being angry. Oh dear, I wish I hadn't said anything at all. Honestly, my lord, you’ve scared me. Now, look happy, and I’ll tell you.
LORD TOUCH. Well, well.
LORD TOUCH. Well, well.
LADY TOUCH. Nay, but will you be calm? Indeed it’s nothing but—
LADY TOUCH. No, but can you please stay calm? Honestly, it’s just—
LORD TOUCH. But what?
LORD TOUCH. But what now?
LADY TOUCH. But will you promise me not to be angry? Nay, you must—not to be angry with Mellefont? I dare swear he’s sorry, and were it to do again, would not—
LADY TOUCH. But will you promise me not to be angry? No, you must—not to be angry with Mellefont? I’m sure he’s sorry, and if he could do it again, he wouldn’t—
LORD TOUCH. Sorry for what? ’Death, you rack me with delay.
LORD TOUCH. Sorry for what? Death, you’re making me suffer with all this waiting.
LADY TOUCH. Nay, no great matter, only—well, I have your promise. Pho, why nothing, only your nephew had a mind to amuse himself sometimes with a little gallantry towards me. Nay, I can’t think he meant anything seriously, but methought it looked oddly.
LADY TOUCH. No big deal, really—just that I have your promise. Oh, it’s nothing, just that your nephew wanted to flirt with me a bit. Honestly, I don’t think he was serious about it, but it struck me as a bit strange.
LORD TOUCH. Confusion and hell, what do I hear?
LORD TOUCH. What chaos and madness is this?
LADY TOUCH. Or, may be, he thought he was not enough akin to me, upon your account, and had a mind to create a nearer relation on his own; a lover you know, my lord. Ha, ha, ha. Well, but that’s all. Now you have it; well remember your promise, my lord, and don’t take any notice of it to him.
LADY TOUCH. Or maybe he thought he wasn't close enough to me because of you, and wanted to form a closer relationship on his own; a lover, you know, my lord. Ha, ha, ha. Well, that's that. Now you know; just remember your promise, my lord, and don't mention it to him.
LORD TOUCH. No, no, no. Damnation!
LORD TOUCH. No, no, no. Damn it!
LADY TOUCH. Nay, I swear you must not. A little harmless mirth; only misplaced, that’s all. But if it were more, ’tis over now, and all’s well. For my part I have forgot it, and so has he, I hope,—for I have not heard anything from him these two days.
LADY TOUCH. No, I really insist you shouldn’t. Just a bit of harmless fun; it was just a little misplaced, that’s all. But if it was more than that, it’s in the past now, and everything’s fine. As for me, I've forgotten about it, and I hope he has too—because I haven’t heard from him in two days.
LORD TOUCH. These two days! Is it so fresh? Unnatural villain! Death, I’ll have him stripped and turned naked out of my doors this moment, and let him rot and perish, incestuous brute!
LORD TOUCH. These past two days! Is it that recent? Unnatural villain! Death, I’ll have him thrown out and left naked on my doorstep this moment, and let him rot and decay, incestuous beast!
LADY TOUCH. Oh, for heav’n’s sake, my lord, you’ll ruin me if you take such public notice of it; it will be a town talk. Consider your own and my honour; nay, I told you you would not be satisfied when you knew it.
LADY TOUCH. Oh, for heaven's sake, my lord, you'll ruin me if you make such a big deal out of it; it will be the talk of the town. Think about our honor, yours and mine; I warned you that you wouldn't be happy when you found out.
LORD TOUCH. Before I’ve done I will be satisfied. Ungrateful monster! how long?
LORD TOUCH. Before I'm finished, I will be satisfied. Ungrateful monster! How long?
LADY TOUCH. Lord, I don’t know; I wish my lips had grown together when I told you. Almost a twelvemonth. Nay, I won’t tell you any more till you are yourself. Pray, my lord, don’t let the company see you in this disorder. Yet, I confess, I can’t blame you; for I think I was never so surprised in my life. Who would have thought my nephew could have so misconstrued my kindness? But will you go into your closet, and recover your temper. I’ll make an excuse of sudden business to the company, and come to you. Pray, good, dear my lord, let me beg you do now. I’ll come immediately and tell you all; will you, my lord?
LADY TOUCH. Lord, I don’t know; I wish my lips had sealed shut when I told you. Almost a year. No, I won’t say anything more until you’re back to yourself. Please, my lord, don’t let the others see you like this. Still, I admit, I can’t blame you; I think I’ve never been so surprised in my life. Who would have thought my nephew could misinterpret my kindness like that? But will you go to your room and regain your composure? I’ll make an excuse about sudden business to the others and come to you. Please, my dear lord, I beg you to do this now. I’ll come right away and tell you everything; will you, my lord?
LORD TOUCH. I will—I am mute with wonder.
LORD TOUCH. I will—I’m speechless with amazement.
LADY TOUCH. Well, but go now, here’s somebody coming.
LADY TOUCH. Well, hurry up, someone’s coming.
LORD TOUCH. Well, I go. You won’t stay? for I would hear more of this.
LORD TOUCH. Well, I'm heading out. You won't stick around? Because I want to hear more about this.
LADY TOUCH. I follow instantly. So.
LADY TOUCH. I follow right away. So.
SCENE II.
Lady Touchwood, Maskwell.
Lady Touchwood, Maskwell.
MASK. This was a masterpiece, and did not need my help, though I stood ready for a cue to come in and confirm all, had there been occasion.
MASK. This was a masterpiece and didn’t need my help, though I was ready for a cue to come in and confirm everything, if there had been a chance.
LADY TOUCH. Have you seen Mellefont?
LADY TOUCH. Have you seen Mellefont?
MASK. I have; and am to meet him here about this time.
MASK. I have; and I'm supposed to meet him here around this time.
LADY TOUCH. How does he bear his disappointment?
LADY TOUCH. How is he handling his disappointment?
MASK. Secure in my assistance, he seemed not much afflicted, but rather laughed at the shallow artifice, which so little time must of necessity discover. Yet he is apprehensive of some farther design of yours, and has engaged me to watch you. I believe he will hardly be able to prevent your plot, yet I would have you use caution and expedition.
MASK. Confident in my support, he didn’t seem too troubled and instead laughed at the flimsy scheme, which time would soon reveal. Still, he’s wary of some deeper plan you might have and has asked me to keep an eye on you. I doubt he’ll be able to stop your plot, but I suggest you proceed with caution and speed.
LADY TOUCH. Expedition indeed, for all we do must be performed in the remaining part of this evening, and before the company break up, lest my lord should cool and have an opportunity to talk with him privately. My lord must not see him again.
LADY TOUCH. Expedition is required because everything we need to do must happen tonight before the guests leave, or else my lord might lose interest and get a chance to speak with him alone. My lord must not see him again.
MASK. By no means; therefore you must aggravate my lord’s displeasure to a degree that will admit of no conference with him. What think you of mentioning me?
MASK. Not at all; so you must make my lord even more upset to the point where he won't want to discuss anything with him. What do you think about bringing me up?
LADY TOUCH. How?
Lady Touch. How?
MASK. To my lord, as having been privy to Mellefont’s design upon you, but still using my utmost endeavours to dissuade him, though my friendship and love to him has made me conceal it; yet you may say, I threatened the next time he attempted anything of that kind to discover it to my lord.
MASK. To my lord, having been aware of Mellefont’s intentions toward you, I did my best to talk him out of it, although my friendship and love for him made me keep it a secret; still, you could say that I warned him the next time he tried anything like that, I would reveal it to my lord.
LADY TOUCH. To what end is this?
LADY TOUCH. What’s the point of this?
MASK. It will confirm my lord’s opinion of my honour and honesty, and create in him a new confidence in me, which (should this design miscarry) will be necessary to the forming another plot that I have in my head.—To cheat you as well as the rest. [Aside.]
MASK. It will prove my lord's view of my honor and honesty, and build new trust in me, which (if this plan fails) will be important for putting together another scheme I have in mind.—To deceive you just like everyone else. [Aside.]
LADY TOUCH. I’ll do it—I’ll tell him you hindered him once from forcing me.
LADY TOUCH. I'll do it—I’ll tell him you stopped him from forcing me once.
MASK. Excellent! Your ladyship has a most improving fancy. You had best go to my lord, keep him as long as you can in his closet, and I doubt not but you will mould him to what you please; your guests are so engaged in their own follies and intrigues, they’ll miss neither of you.
MASK. Excellent! Your ladyship has a really creative idea. You should go to my lord, keep him in his study as long as you can, and I’m sure you’ll shape him to your liking; your guests are so caught up in their own foolishness and schemes that they won't notice either of you.
LADY TOUCH. When shall we meet?—at eight this evening in my chamber? There rejoice at our success, and toy away an hour in mirth.
LADY TOUCH. When should we meet?—at eight tonight in my room? There, let’s celebrate our success and spend an hour in laughter.
MASK. I will not fail.
MASK. I won’t fail.
SCENE III.
Maskwell alone.
Maskwell alone.
I know what she means by toying away an hour well enough. Pox, I have lost all appetite to her; yet she’s a fine woman, and I loved her once. But I don’t know: since I have been in a great measure kept by her, the case is altered; what was my pleasure is become my duty, and I have as little stomach to her now as if I were her husband. Should she smoke my design upon Cynthia, I were in a fine pickle. She has a damned penetrating head, and knows how to interpret a coldness the right way; therefore I must dissemble ardour and ecstasy; that’s resolved. How easily and pleasantly is that dissembled before fruition! Pox on’t that a man can’t drink without quenching his thirst. Ha! yonder comes Mellefont, thoughtful. Let me think. Meet her at eight—hum—ha! By heav’n I have it.—If I can speak to my lord before. Was it my brain or providence? No matter which—I will deceive ’em all, and yet secure myself. ’Twas a lucky thought! Well, this double-dealing is a jewel. Here he comes, now for me. [Maskwell, pretending not to see him, walks by him, and speaks as it were to himself.]
I get what she means about wasting an hour easily. Honestly, I’ve completely lost interest in her; still, she's a great woman, and I did love her once. But I don't know: ever since she's been mostly supporting me, everything has changed; what used to be my enjoyment has turned into my obligation, and I feel as little desire for her now as if I were her husband. If she figures out my plan with Cynthia, I’d be in big trouble. She has an incredibly sharp mind and knows how to read a lack of interest perfectly; so I have to pretend to be super into her; that’s settled. It’s so easy and enjoyable to pretend before things actually happen! Ugh, it’s annoying that a guy can’t drink without needing to satisfy his thirst. Ah! Here comes Mellefont, looking pensive. Let me think. Meet her at eight—hmm—ah! By heaven, I’ve got it. If I can talk to my lord first. Was it my idea or fate? Doesn’t matter—I’ll outsmart them all and still keep myself safe. That was a lucky thought! This whole double-crossing business is a gem. Here he comes, now it's my turn. [Maskwell, pretending not to see him, walks by him, and speaks as if to himself.]
SCENE IV.
[To him] Mellefont, musing.
[To him] Mellefont, thinking.
MASK. Mercy on us, what will the wickedness of this world come to?
MASK. Have mercy on us, what is this world's wickedness coming to?
MEL. How now, Jack? What, so full of contemplation that you run over?
MEL. Hey there, Jack! What’s up? Are you so deep in thought that you’re just zoning out?
MASK. I’m glad you’re come, for I could not contain myself any longer, and was just going to give vent to a secret, which nobody but you ought to drink down. Your aunt’s just gone from hence.
MASK. I'm glad you came, because I couldn't hold it in any longer and was just about to let out a secret that only you should know. Your aunt just left here.
MEL. And having trusted thee with the secrets of her soul, thou art villainously bent to discover ’em all to me, ha?
MEL. And after trusting you with the secrets of her soul, you’re planning to reveal them all to me, aren’t you?
MASK. I’m afraid my frailty leans that way. But I don’t know whether I can in honour discover ’em all.
MASK. I'm afraid my weakness leans that way. But I don't know if I can honorably find them all.
MEL. All, all, man! What, you may in honour betray her as far as she betrays herself. No tragical design upon my person, I hope.
MEL. All, all, man! What, you can betray her in honor as much as she betrays herself. I hope there's no tragic plan against me.
MASK. No, but it’s a comical design upon mine.
MASK. No, but it’s a funny design on mine.
MEL. What dost thou mean?
MEL. What do you mean?
MASK. Listen and be dumb; we have been bargaining about the rate of your ruin—
MASK. Listen and stay quiet; we have been negotiating about how fast you will fall apart—
MEL. Like any two guardians to an orphan heiress. Well?
MEL. Just like any two guardians looking after an orphan heiress. Well?
MASK. And whereas pleasure is generally paid with mischief, what mischief I do is to be paid with pleasure.
MASK. And while pleasure usually comes with trouble, the trouble I cause is paid for with pleasure.
MEL. So when you’ve swallowed the potion you sweeten your mouth with a plum.
MEL. So after you drink the potion, you freshen your mouth with a plum.
MASK. You are merry, sir, but I shall probe your constitution. In short, the price of your banishment is to be paid with the person of—
MASK. You’re cheerful, sir, but I will test your resolve. In short, the cost of your exile is to be paid with the person of—
MEL. Of Cynthia and her fortune. Why, you forget you told me this before.
MEL. Of Cynthia and her fortune. Well, you forgot that you told me this before.
MASK. No, no. So far you are right; and I am, as an earnest of that bargain, to have full and free possession of the person of—your aunt.
MASK. No, no. So far you're right; and I, as a guarantee of that deal, am supposed to have complete and unrestricted access to the person of—your aunt.
MEL. Ha! Pho, you trifle.
MEL. Ha! Pho, you little thing.
MASK. By this light, I’m serious; all raillery apart. I knew ’twould stun you. This evening at eight she will receive me in her bedchamber.
MASK. By this light, I’m serious; all jokes aside. I knew it would shock you. This evening at eight, she will welcome me in her bedroom.
MEL. Hell and the devil, is she abandoned of all grace? Why, the woman is possessed.
MEL. Hell and damnation, has she lost all her grace? This woman is clearly possessed.
MASK. Well, will you go in my stead?
MASK. Well, will you go instead of me?
MEL. By heav’n, into a hot furnace sooner.
MEL. By heaven, I’d rather jump into a hot furnace any day.
MASK. No, you would not; it would not be so convenient, as I can order matters.
MASK. No, you wouldn’t; it wouldn’t be as easy, since I can handle things.
MEL. What d’ye mean?
MEL. What do you mean?
MASK. Mean? Not to disappoint the lady, I assure you. Ha, ha, ha, how gravely he looks. Come, come, I won’t perplex you. ’Tis the only thing that providence could have contrived to make me capable of serving you, either to my inclination or your own necessity.
MASK. Mean? I assure you, I have no intention of disappointing the lady. Ha, ha, ha, look how seriously he’s acting. Come on, I won’t confuse you. It’s the only thing that fate could have come up with to make it possible for me to serve you, whether it’s what I want or what you need.
MEL. How, how, for heav’n’s sake, dear Maskwell?
MEL. How, how, for heaven's sake, dear Maskwell?
MASK. Why, thus. I’ll go according to appointment; you shall have notice at the critical minute to come and surprise your aunt and me together. Counterfeit a rage against me, and I’ll make my escape through the private passage from her chamber, which I’ll take care to leave open. ’Twill be hard if then you can’t bring her to any conditions. For this discovery will disarm her of all defence, and leave her entirely at your mercy—nay, she must ever after be in awe of you.
MASK. Why, like this. I’ll stick to the plan; you’ll get a heads-up at the right moment to catch your aunt and me together. Pretend to be angry with me, and I’ll sneak out through the secret passage from her room, which I’ll make sure to leave open. It’ll be tough if you can’t get her to agree to anything. This revelation will leave her defenseless and completely at your mercy—she’ll always be a bit scared of you after this.
MEL. Let me adore thee, my better genius! By heav’n I think it is not in the power of fate to disappoint my hopes—my hopes? My certainty!
MEL. Let me admire you, my better inspiration! By heaven, I believe it's impossible for fate to let me down—my hopes? My certainty!
MASK. Well, I’ll meet you here, within a quarter of eight, and give you notice.
MASK. Well, I'll meet you here at 7:45 and let you know.
MEL. Good fortune ever go along with thee.
MEL. May good luck always be with you.
SCENE V.
Mellefont, Careless.
Mellefont, Careless.
CARE. Mellefont, get out o’ th’ way, my Lady Plyant’s coming, and I shall never succeed while thou art in sight. Though she begins to tack about; but I made love a great while to no purpose.
CARE. Mellefont, move aside, my Lady Plyant is coming, and I won't be able to succeed while you're here. She's starting to change course, but I’ve been pursuing her for a long time without any result.
MEL. Why, what’s the matter? She’s convinced that I don’t care for her.
MEL. Why, what's going on? She thinks I don't care about her.
CARE. I can’t get an answer from her, that does not begin with her honour, or her virtue, her religion, or some such cant. Then she has told me the whole history of Sir Paul’s nine years courtship; how he has lain for whole nights together upon the stairs before her chamber-door; and that the first favour he received from her was a piece of an old scarlet petticoat for a stomacher, which since the day of his marriage he has out of a piece of gallantry converted into a night-cap, and wears it still with much solemnity on his anniversary wedding-night.
CARE. I can’t get a straight answer from her that doesn’t start with her honor, her virtue, her religion, or some other nonsense. Then she tells me the entire story of Sir Paul’s nine-year courtship; how he has spent whole nights lying on the stairs outside her room; and that the first favor she gave him was a piece of an old scarlet petticoat for a stomacher, which since their wedding day he has, as a gesture of gallantry, turned into a nightcap, and still wears it with great seriousness on their wedding anniversary.
MEL. That I have seen, with the ceremony thereunto belonging. For on that night he creeps in at the bed’s feet like a gulled bassa that has married a relation of the Grand Signior, and that night he has his arms at liberty. Did not she tell you at what a distance she keeps him? He has confessed to me that, but at some certain times, that is, I suppose, when she apprehends being with child, he never has the privilege of using the familiarity of a husband with a wife. He was once given to scrambling with his hands, and sprawling in his sleep, and ever since she has him swaddled up in blankets, and his hands and feet swathed down, and so put to bed; and there he lies with a great beard, like a Russian bear upon a drift of snow. You are very great with him, I wonder he never told you his grievances: he will, I warrant you.
MEL. That I've seen, with all the rituals that go with it. Because on that night, he sneaks in at the end of the bed like a deceived bassa who has married a relative of the Grand Signior, and that night he has his arms free. Didn't she tell you how far away she keeps him? He’s admitted to me that, only at certain times, I assume when she's worried about being pregnant, he never gets to act like a husband with his wife. He used to fumble with his hands and sprawl in his sleep, and ever since then she's had him wrapped up in blankets, with his hands and feet all bundled up, and that's how he goes to bed. And there he lies with a big beard, like a Russian bear on a snow drift. You seem to be close with him; I'm surprised he never shared his complaints with you: he will, I bet.
CARE. Excessively foolish! But that which gives me most hopes of her is her telling me of the many temptations she has resisted.
CARE. Excessively foolish! But what gives me the most hope for her is her telling me about the many temptations she has resisted.
MEL. Nay, then you have her; for a woman’s bragging to a man that she has overcome temptations is an argument that they were weakly offered, and a challenge to him to engage her more irresistibly. ’Tis only an enhancing the price of the commodity, by telling you how many customers have underbid her.
MEL. No, then you have her; because when a woman boasts to a man that she has resisted temptations, it suggests that those temptations weren’t very strong, and it's basically a challenge for him to pursue her even more intensely. It just raises the value of what she's offering by showing you how many others have failed.
CARE. Nay, I don’t despair. But still she has a grudging to you. I talked to her t’other night at my Lord Froth’s masquerade, when I’m satisfied she knew me, and I had no reason to complain of my reception; but I find women are not the same bare-faced and in masks, and a vizor disguises their inclinations as much as their faces.
CARE. No, I’m not feeling hopeless. But she still holds something against you. I spoke with her the other night at Lord Froth’s masquerade, and I’m sure she recognized me, and I can’t complain about how she treated me; but I’ve noticed that women act differently without their real faces showing, and a mask hides their feelings just as much as it hides their appearances.
MEL. ’Tis a mistake, for women may most properly be said to be unmasked when they wear vizors; for that secures them from blushing and being out of countenance, and next to being in the dark, or alone, they are most truly themselves in a vizor mask. Here they come: I’ll leave you. Ply her close, and by and by clap a billet doux into her hand; for a woman never thinks a man truly in love with her, till he has been fool enough to think of her out of her sight, and to lose so much time as to write to her.
MEL. It’s a mistake, because women are actually more themselves when they wear masks; it keeps them from blushing and feeling embarrassed, and besides being in the dark or alone, they are most genuinely themselves in a mask. Here they come: I’ll step away. Keep her engaged, and soon slip her a love letter; a woman never believes a man is truly in love with her until he’s silly enough to think about her when she’s not around and waste time writing to her.
SCENE VI.
Careless, Sir Paul, and Lady Plyant.
Careless, Sir Paul, and Lady Plyant.
SIR PAUL. Shan’t we disturb your meditation, Mr. Careless? You would be private?
SIR PAUL. Do you want us to leave you alone for your meditation, Mr. Careless? Would you prefer to be alone?
CARE. You bring that along with you, Sir Paul, that shall be always welcome to my privacy.
CARE. You bring that with you, Sir Paul, and it will always be welcome in my personal space.
SIR PAUL. O sweet sir, you load your humble servants, both me and my wife, with continual favours.
SIR PAUL. O sweet sir, you constantly shower your humble servants, both me and my wife, with your kindness.
LADY PLYANT. Sir Paul, what a phrase was there? You will be making answers, and taking that upon you which ought to lie upon me. That you should have so little breeding to think Mr. Careless did not apply himself to me. Pray what have you to entertain anybody’s privacy? I swear and declare in the face of the world I’m ready to blush for your ignorance.
LADY PLYANT. Sir Paul, what was that phrase? You’re going to answer for things that should be my responsibility. How could you be so rude as to think Mr. Careless wasn’t interested in me? Seriously, what gives you the right to invade anyone’s private matters? I swear, I feel embarrassed for you because of your lack of understanding.
SIR PAUL. I acquiesce, my lady; but don’t snub so loud. [Aside to her.]
SIR PAUL. I agree, my lady; but please don't be so loud. [Aside to her.]
LADY PLYANT. Mr. Careless, if a person that is wholly illiterate might be supposed to be capable of being qualified to make a suitable return to those obligations, which you are pleased to confer upon one that is wholly incapable of being qualified in all those circumstances, I’m sure I should rather attempt it than anything in the world, [Courtesies] for I’m sure there’s nothing in the world that I would rather. [Courtesies] But I know Mr. Careless is so great a critic, and so fine a gentleman, that it is impossible for me—
LADY PLYANT. Mr. Careless, if it were possible for someone completely uneducated to be able to suitably respond to the favors you’ve graciously given to someone who is utterly unqualified in every way, I would certainly try to do so over anything else in the world, [Courtesies] because there is truly nothing I would prefer. [Courtesies] But I realize that Mr. Careless is such a discerning critic and such a refined gentleman that it’s impossible for me—
CARE. O heavens! madam, you confound me.
CARE. O my goodness! Ma'am, you baffle me.
SIR PAUL. Gads-bud, she’s a fine person.
SIR PAUL. Wow, she’s an amazing person.
LADY PLYANT. O Lord! sir, pardon me, we women have not those advantages; I know my imperfections. But at the same time you must give me leave to declare in the face of the world that nobody is more sensible of favours and things; for with the reserve of my honour I assure you, Mr. Careless, I don’t know anything in the world I would refuse to a person so meritorious. You’ll pardon my want of expression.
LADY PLYANT. Oh Lord! Sir, forgive me, we women don’t have those advantages; I know my flaws. But at the same time, you have to let me say openly that no one appreciates kindness and gestures more than I do; with all due respect to my dignity, I assure you, Mr. Careless, there’s nothing in the world I would deny to someone as deserving as you. Please excuse my lack of eloquence.
CARE. O, your ladyship is abounding in all excellence, particularly that of phrase.
CARE. O, your ladyship, you have an abundance of excellence, especially in your choice of words.
LADY PLYANT. You are so obliging, sir.
LADY PLYANT. You're so kind, sir.
CARE. Your ladyship is so charming.
CARE. Your ladyship is so delightful.
SIR PAUL. So, now, now; now, my lady.
SIR PAUL. So, now, now; now, my lady.
LADY PLYANT. So well bred.
Such good manners.
CARE. So surprising.
CARE. So unexpected.
LADY PLYANT. So well dressed, so bonne mine, so eloquent, so unaffected, so easy, so free, so particular, so agreeable.
LADY PLYANT. So well dressed, so good looking, so articulate, so natural, so laid-back, so open, so meticulous, so pleasant.
SIR PAUL. Ay, so, so, there.
SIR PAUL. Yeah, like that, there.
CARE. O Lord, I beseech you madam, don’t.
CARE. O Lord, I beg you, ma'am, please don’t.
LADY PLYANT. So gay, so graceful, so good teeth, so fine shape, so fine limbs, so fine linen, and I don’t doubt but you have a very good skin, sir,
LADY PLYANT. So cheerful, so elegant, so nice teeth, such a great figure, such lovely limbs, such fine fabric, and I’m sure you have really nice skin, sir,
CARE. For heaven’s sake, madam, I’m quite out of countenance.
CARE. For heaven's sake, ma'am, I'm completely embarrassed.
SIR PAUL. And my lady’s quite out of breath; or else you should hear—Gads-bud, you may talk of my Lady Froth.
SIR PAUL. And my lady’s really out of breath; otherwise, you’d hear—goodness, you can talk about my Lady Froth.
CARE. O fie, fie, not to be named of a day. My Lady Froth is very well in her accomplishments. But it is when my Lady Plyant is not thought of. If that can ever be.
CARE. O no, no, don’t let it be said in a day. My Lady Froth is doing great in her skills. But it’s when my Lady Plyant isn’t considered. If that’s ever possible.
LADY PLYANT. O, you overcome me. That is so excessive.
LADY PLYANT. Oh, you’ve got me. That’s just too much.
SIR PAUL. Nay, I swear and vow that was pretty.
SIR PAUL. No, I swear that was really nice.
CARE. O, Sir Paul, you are the happiest man alive. Such a lady! that is the envy of her own sex, and the admiration of ours.
CARE. O, Sir Paul, you're the happiest man alive. Such a lady! She's the envy of her own gender and the admiration of ours.
SIR PAUL. Your humble servant. I am, I thank heaven, in a fine way of living, as I may say, peacefully and happily, and I think need not envy any of my neighbours, blessed be providence. Ay, truly, Mr. Careless, my lady is a great blessing, a fine, discreet, well-spoken woman as you shall see, if it becomes me to say so, and we live very comfortably together; she is a little hasty sometimes, and so am I; but mine’s soon over, and then I’m so sorry.—O Mr. Careless, if it were not for one thing—
SIR PAUL. Your humble servant. I am, thank heaven, living quite well, peacefully and happily, and I don’t think I need to envy any of my neighbors, blessed be providence. Yes, truly, Mr. Careless, my lady is a great blessing—she’s a wonderful, sensible, well-spoken woman, as you’ll see, if I may say so, and we live very comfortably together; she can be a bit quick-tempered sometimes, and so can I; but I get over it quickly, and then I feel so bad about it. —Oh, Mr. Careless, if it weren't for one thing—
SCENE VII.
Careless, Sir Paul, Lady Plyant, Boy with a letter.
Careless, Sir Paul, Lady Plyant, Boy with a letter.
LADY PLYANT. How often have you been told of that, you jackanapes?
LADY PLYANT. How many times have you heard that, you little brat?
SIR PAUL. Gad so, gad’s-bud. Tim, carry it to my lady, you should have carried it to my lady first.
SIR PAUL. Goodness, really. Tim, take this to my lady; you should have taken it to her first.
BOY. ’Tis directed to your worship.
Dude, it's for you.
SIR PAUL. Well, well, my lady reads all letters first. Child, do so no more; d’ye hear, Tim.
SIR PAUL. Well, well, my lady reads all the letters first. Kid, don't do that anymore; do you understand, Tim?
BOY. No, and please you.
No, thank you.
SCENE VIII.
Careless, Sir Paul, Lady Plyant.
Careless, Sir Paul, Lady Plyant.
SIR PAUL. A humour of my wife’s: you know women have little fancies. But as I was telling you, Mr. Careless, if it were not for one thing, I should think myself the happiest man in the world; indeed that touches me near, very near.
SIR PAUL. A quirk of my wife's: you know how women have their little whims. But as I was saying, Mr. Careless, if it weren't for one thing, I'd consider myself the happiest man in the world; honestly, that hits me close to home, very close.
CARE. What can that be, Sir Paul?
CARE. What does that mean, Sir Paul?
SIR PAUL. Why, I have, I thank heaven, a very plentiful fortune, a good estate in the country, some houses in town, and some money, a pretty tolerable personal estate; and it is a great grief to me, indeed it is, Mr. Careless, that I have not a son to inherit this. ’Tis true I have a daughter, and a fine dutiful child she is, though I say it, blessed be providence I may say; for indeed, Mr. Careless, I am mightily beholden to providence. A poor unworthy sinner. But if I had a son! Ah, that’s my affliction, and my only affliction; indeed I cannot refrain tears when it comes in my mind. [Cries.]
SIR PAUL. Why, I’ve got to thank heaven that I have a pretty good fortune, a nice estate in the countryside, some houses in town, and some money—enough of a personal estate; and it really saddens me, it truly does, Mr. Careless, that I don’t have a son to inherit this. It’s true I have a daughter, and she’s a wonderful, obedient child, if I do say so myself—blessed be providence, I can say that; because honestly, Mr. Careless, I owe a lot to providence. Just a poor, unworthy sinner. But if I had a son! Ah, that’s my sorrow, and my only sorrow; I really can’t help but cry when I think about it. [Cries.]
CARE. Why, methinks that might be easily remedied—my lady’s a fine likely woman—
CARE. Why, I think that can be easily fixed—my lady's a really attractive woman—
SIR PAUL. Oh, a fine likely woman as you shall see in a summer’s day. Indeed she is, Mr. Careless, in all respects.
SIR PAUL. Oh, a really great woman, just like you'll see on a summer day. Indeed she is, Mr. Careless, in every way.
CARE. And I should not have taken you to have been so old—
CARE. And I shouldn’t have thought you were so old—
SIR PAUL. Alas, that’s not it, Mr. Careless; ah! that’s not it; no, no, you shoot wide of the mark a mile; indeed you do, that’s not it, Mr. Careless; no, no, that’s not it.
SIR PAUL. Oh no, that’s not it, Mr. Careless; really! that’s not it; no, no, you’re completely missing the point; you really are, that’s not it, Mr. Careless; no, no, that’s not it.
CARE. No? What can be the matter then?
CARE. No? What could be the issue then?
SIR PAUL. You’ll scarcely believe me when I shall tell you—my lady is so nice. It’s very strange, but it’s true; too true—she’s so very nice, that I don’t believe she would touch a man for the world. At least not above once a year; I’m sure I have found it so; and, alas, what’s once a year to an old man, who would do good in his generation? Indeed it’s true, Mr. Careless, it breaks my heart. I am her husband, as I may say; though far unworthy of that honour, yet I am her husband; but alas-a-day, I have no more familiarity with her person—as to that matter—than with my own mother—no indeed.
SIR PAUL. You’ll hardly believe me when I tell you—my lady is so nice. It’s really strange, but it’s true; too true—she’s so nice that I don’t think she would touch a man for the world. At least not more than once a year; I’m sure that’s the case. And, unfortunately, what’s once a year to an old man who wants to do good in his time? Indeed, Mr. Careless, it breaks my heart. I am her husband, as I might say; though I don’t deserve that honor, I am her husband. But alas, I have no more familiarity with her person—in that regard—than with my own mother—no, not at all.
CARE. Alas-a-day, this is a lamentable story. My lady must be told on’t. She must i’faith, Sir Paul; ’tis an injury to the world.
CARE. Unfortunately, this is a sad story. My lady needs to hear about it. She definitely must, Sir Paul; it’s a wrong against the world.
SIR PAUL. Ah! would to heaven you would, Mr. Careless; you are mightily in her favour.
SIR PAUL. Ah! I wish you would, Mr. Careless; you have a strong chance with her.
CARE. I warrant you, what! we must have a son some way or other.
CARE. I swear, what! We need to have a son somehow.
SIR PAUL. Indeed I should be mightily bound to you if you could bring it about, Mr. Careless.
SIR PAUL. I would really owe you a huge favor if you could make that happen, Mr. Careless.
LADY PLYANT. Here, Sir Paul, it’s from your steward. Here’s a return of 600 pounds; you may take fifty of it for the next half year. [Gives him the letter.]
LADY PLYANT. Here, Sir Paul, this is from your steward. Here’s a return of 600 pounds; you can take fifty of it for the next six months. [Gives him the letter.]
SCENE IX.
[To them] Lord Froth, Cynthia.
[To them] Lord Froth, Cynthia.
SIR PAUL. How does my girl? Come hither to thy father, poor lamb: thou’rt melancholic.
SIR PAUL. How is my girl? Come here to your father, poor thing: you seem down.
LORD FROTH. Heaven, Sir Paul, you amaze me, of all things in the world. You are never pleased but when we are all upon the broad grin: all laugh and no company; ah, then ’tis such a sight to see some teeth. Sure you’re a great admirer of my Lady Whifler, Mr. Sneer, and Sir Laurence Loud, and that gang.
LORD FROTH. Wow, Sir Paul, you really surprise me, of all things. You only seem happy when we’re all smiling broadly: everyone laughs and there's no real conversation; ah, then it’s such a sight to see some teeth. I’m sure you’re a big fan of my Lady Whifler, Mr. Sneer, and Sir Laurence Loud, and that crew.
SIR PAUL. I vow and swear she’s a very merry woman; but I think she laughs a little too much.
SIR PAUL. I swear she's a really cheerful woman; but I think she laughs a bit too much.
LORD FROTH. Merry! O Lord, what a character that is of a woman of quality. You have been at my Lady Whifler’s upon her day, madam?
LORD FROTH. Happy! Oh Lord, what a character that woman of high society is. You've been to my Lady Whifler’s on her day, madam?
CYNT. Yes, my lord. I must humour this fool. [Aside.]
CYNT. Yes, my lord. I have to go along with this fool. [Aside.]
LORD FROTH. Well, and how? hee! What is your sense of the conversation?
LORD FROTH. Well, so? Haha! What do you think of the conversation?
CYNT. Oh, most ridiculous, a perpetual comfort of laughing without any harmony; for sure, my lord, to laugh out of time, is as disagreeable as to sing out of time or out of tune.
CYNT. Oh, how ridiculous, a constant source of laughter without any rhythm; truly, my lord, laughing out of sync is just as unpleasant as singing out of tune or out of time.
LORD FROTH. Hee, hee, hee, right; and then, my Lady Whifler is so ready—she always comes in three bars too soon. And then, what do they laugh at? For you know laughing without a jest is as impertinent, hee! as, as—
LORD FROTH. Ha, ha, ha, exactly; and then, Lady Whifler is always so eager—she always jumps in three beats too early. And then, what are they laughing at? Because you know, laughing without a joke is just as rude, ha! as, as—
CYNT. As dancing without a fiddle.
CYNT. As pointless as dancing without music.
LORD FROTH. Just i’faith, that was at my tongue’s end.
LORD FROTH. Honestly, that was right on the tip of my tongue.
CYNT. But that cannot be properly said of them, for I think they are all in good nature with the world, and only laugh at one another; and you must allow they have all jests in their persons, though they have none in their conversation.
CYNT. But that can't really be said about them, because I think they're all good-natured toward the world and just laugh at each other; and you have to admit they all have quirks about them, even if they don't have any jokes in their conversations.
LORD FROTH. True, as I’m a person of honour. For heaven’s sake let us sacrifice ’em to mirth a little. [Enter Boy and whispers Sir Paul.]
LORD FROTH. True, as I’m a person of honor. For heaven’s sake, let’s lighten the mood a bit. [Enter Boy and whispers Sir Paul.]
SIR PAUL. Gads so.—Wife, wife, my Lady Plyant, I have a word.
SIR PAUL. Wow.—Honey, honey, my Lady Plyant, I need to talk.
LADY PLYANT. I’m busy, Sir Paul, I wonder at your impertinence.
LADY PLYANT. I'm busy, Sir Paul, and I'm surprised by your rudeness.
CARE. Sir Paul, harkee, I’m reasoning the matter you know. Madam, if your ladyship please, we’ll discourse of this in the next room.
CARE. Sir Paul, listen, I’m thinking this through, you know. Madam, if it’s okay with you, let’s talk about this in the next room.
SIR PAUL. O ho, I wish you good success, I wish you good success. Boy, tell my lady, when she has done, I would speak with her below.
SIR PAUL. Oh, I wish you great success, I really do. Boy, let my lady know that when she’s finished, I’d like to speak with her downstairs.
SCENE X.
Cynthia, Lord Froth, Lady Froth, Brisk.
Cynthia, Lord Froth, Lady Froth, Brisk.
LADY FROTH. Then you think that episode between Susan, the dairy-maid, and our coachman is not amiss; you know, I may suppose the dairy in town, as well as in the country.
LADY FROTH. So you believe that incident with Susan, the dairymaid, and our coachman is acceptable; you know, I can imagine the dairy in the city just like in the country.
BRISK. Incomparable, let me perish. But then, being an heroic poem, had you not better call him a charioteer? Charioteer sounds great; besides, your ladyship’s coachman having a red face, and you comparing him to the sun—and you know the sun is called Heaven’s charioteer.
BRISK. Incomparable, let me perish. But then, since this is an epic poem, wouldn’t it be better to call him a charioteer? Charioteer sounds impressive; plus, your ladyship’s coachman has a red face, and you compared him to the sun—and you know the sun is referred to as Heaven’s charioteer.
LADY FROTH. Oh, infinitely better; I’m extremely beholden to you for the hint; stay, we’ll read over those half a score lines again. [Pulls out a paper.] Let me see here, you know what goes before,—the comparison, you know. [Reads.]
LADY FROTH. Oh, so much better; I really appreciate your suggestion. Wait, let's go through those few lines again. [Pulls out a paper.] Let me see, you remember what leads up to this—the comparison, right? [Reads.]
For as the sun shines ev’ry day,
So of our coachman I may say.Just like the sun shines every day,
I can say the same about our driver.
BRISK. I’m afraid that simile won’t do in wet weather; because you say the sun shines every day.
BRISK. I'm afraid that comparison won't work in rainy weather because you say the sun shines every day.
LADY FROTH. No; for the sun it won’t, but it will do for the coachman, for you know there’s most occasion for a coach in wet weather.
LADY FROTH. No; it won't be good for the sun, but it will work for the coachman, because you know there's a greater need for a coach when it’s rainy.
BRISK. Right, right, that saves all.
BRISK. Okay, okay, that fixes everything.
LADY FROTH. Then I don’t say the sun shines all the day, but that he peeps now and then; yet he does shine all the day too, you know, though we don’t see him.
LADY FROTH. Then I’m not saying the sun shines all day, but that it peeks out now and then; still, it does shine all day too, you know, even if we can’t see it.
BRISK. Right, but the vulgar will never comprehend that.
BRISK. Sure, but the uncultured will never get that.
LADY FROTH. Well, you shall hear. Let me see. [Reads.]
LADY FROTH. Well, you’ll hear. Let me see. [Reads.]
For as the sun shines ev’ry day,
So of our coachman I may say,
He shows his drunken fiery face,
Just as the sun does, more or less.Just like the sun rises every day,
I can say the same about our driver,
He reveals his drunken, fiery face,
Just like the sun does, more or less.
BRISK. That’s right, all’s well, all’s well. ‘More or less.’
BRISK. That’s right, everything’s fine, everything’s good. ‘More or less.’
LADY FROTH reads:
LADY FROTH reads:
And when at night his labour’s done,
Then too, like Heav’n’s charioteer the sun:And when his work is finished at night,
Then, just like Heaven’s driver, comes the sun:
Ay, charioteer does better.
Yeah, the charioteer does better.
Into the dairy he descends,
And there his whipping and his driving ends;
There he’s secure from danger of a bilk,
His fare is paid him, and he sets in milk.He steps into the dairy,
And here his struggles and his labor cease;
Here he’s protected from the chance of being deceived,
His meal is covered, and he’s given milk.
For Susan you know, is Thetis, and so—
For Susan, you know, is Thetis, and so—
BRISK. Incomparable well and proper, egad—but I have one exception to make—don’t you think bilk—(I know it’s good rhyme)—but don’t you think bilk and fare too like a hackney coachman?
BRISK. Unquestionably well and proper, but I do have one exception—don’t you think "bilk"—(I know it rhymes well)—but don’t you think bilk and fare sound too much like a hackney coachman?
LADY FROTH. I swear and vow I’m afraid so. And yet our Jehu was a hackney coachman, when my lord took him.
LADY FROTH. I swear, I’m really afraid so. And yet our Jehu was just a cab driver when my lord picked him up.
BRISK. Was he? I’m answered, if Jehu was a hackney coachman. You may put that in the marginal notes though, to prevent criticism—only mark it with a small asterism, and say, ‘Jehu was formerly a hackney coachman.’
BRISK. Was he? I’m told, if Jehu was a cab driver. You can put that in the marginal notes though, to avoid criticism—just mark it with a small asterisk, and say, ‘Jehu was once a cab driver.’
LADY FROTH. I will. You’d oblige me extremely to write notes to the whole poem.
LADY FROTH. I will. It would really help me if you could write notes for the entire poem.
BRISK. With all my heart and soul, and proud of the vast honour, let me perish.
BRISK. With all my heart and soul, and proud of the immense honor, let me die.
LORD FROTH. Hee, hee, hee, my dear, have you done? won’t you join with us? We were laughing at my Lady Whifler and Mr. Sneer.
LORD FROTH. Hee, hee, hee, my dear, are you done? Won't you join us? We were laughing about Lady Whifler and Mr. Sneer.
LADY FROTH. Ay, my dear, were you? Oh, filthy Mr. Sneer; he’s a nauseous figure, a most fulsamic fop, foh! He spent two days together in going about Covent Garden to suit the lining of his coach with his complexion.
LADY FROTH. Oh yes, my dear, were you? Ugh, that disgusting Mr. Sneer; he’s such a repulsive character, a total fop, yuck! He spent two whole days wandering around Covent Garden just to match the lining of his coach to his skin tone.
LORD FROTH. O silly! yet his aunt is as fond of him as if she had brought the ape into the world herself.
LORD FROTH. Oh silly! Yet his aunt is just as fond of him as if she had given birth to the ape herself.
BRISK. Who, my Lady Toothless? Oh, she’s a mortifying spectacle; she’s always chewing the cud like an old ewe.
BRISK. Who, my Lady Toothless? Oh, she’s such an embarrassing sight; she’s always chewing like an old sheep.
CYNT. Fie, Mr. Brisk, eringo’s for her cough.
CYNT. Fie, Mr. Brisk, she needs some medicine for her cough.
LADY FROTH. I have seen her take ’em half chewed out of her mouth, to laugh, and then put ’em in again. Foh!
LADY FROTH. I’ve seen her take them half chewed out of her mouth to laugh, and then put them back in. Ugh!
LORD FROTH. Foh!
LORD FROTH. Ugh!
LADY FROTH. Then she’s always ready to laugh when Sneer offers to speak, and sits in expectation of his no jest, with her gums bare, and her mouth open—
LADY FROTH. Then she’s always ready to laugh when Sneer offers to speak, sitting there waiting for his unfunny joke, her gums showing and her mouth wide open—
BRISK. Like an oyster at low ebb, egad. Ha, ha, ha!
BRISK. Like an oyster at low tide, wow. Ha, ha, ha!
CYNT. [Aside] Well, I find there are no fools so inconsiderable in themselves but they can render other people contemptible by exposing their infirmities.
CYNT. [Aside] Well, I think there are no fools so insignificant that they can't make others look bad by highlighting their weaknesses.
LADY FROTH. Then that t’other great strapping lady—I can’t hit of her name; the old fat fool that paints so exorbitantly.
LADY FROTH. Then that other big, strong woman—I can't remember her name; the old silly lady who wears way too much makeup.
BRISK. I know whom you mean—but deuce take me, I can’t hit of her name neither. Paints, d’ye say? Why, she lays it on with a trowel. Then she has a great beard that bristles through it, and makes her look as if she were plastered with lime and hair, let me perish.
BRISK. I know who you're talking about—but I swear, I can't remember her name either. She uses a lot of makeup, huh? Well, she slathers it on thick. Plus, she has a huge beard that pokes through it, making her look like she's covered in plaster and hair, I swear.
LADY FROTH. Oh, you made a song upon her, Mr. Brisk.
LADY FROTH. Oh, you wrote a song about her, Mr. Brisk.
BRISK. He! egad, so I did. My lord can sing it.
BRISK. Hey! Wow, I really did. My lord can sing it.
CYNT. O good, my lord, let’s hear it.
CYNT. Oh good, my lord, let’s hear it.
BRISK. ’Tis not a song neither, it’s a sort of an epigram, or rather an epigrammatic sonnet; I don’t know what to call it, but it’s satire. Sing it, my lord.
BRISK. It’s not a song either; it’s more like an epigram, or maybe an epigrammatic sonnet. I’m not sure what to call it, but it’s satire. Sing it, my lord.
LORD FROTH sings.
LORD FROTH sings.
Ancient Phyllis has young graces,
’Tis a strange thing, but a true one;
Shall I tell you how?
She herself makes her own faces,
And each morning wears a new one;
Where’s the wonder now?Ancient Phyllis has youthful charms,
It’s a strange but true thing;
Should I tell you how?
She makes her own expressions,
And every morning she puts on a new one;
Where’s the surprise in that?
BRISK. Short, but there’s salt in’t; my way of writing, egad.
BRISK. Short, but there's some bite to it; that's my writing style, I swear.
SCENE XI.
[To them] Footman.
[To them] Footman.
LADY FROTH. How now?
LADY FROTH. What's up?
FOOT. Your ladyship’s chair is come.
FOOT. Your lady’s chair has arrived.
LADY FROTH. Is nurse and the child in it?
LADY FROTH. Is the nurse and the baby in there?
FOOT. Yes, madam.
FOOT. Yes, ma'am.
LADY FROTH. O the dear creature! Let’s go see it.
LADY FROTH. Oh, the sweet thing! Let’s go check it out.
LORD FROTH. I swear, my dear, you’ll spoil that child, with sending it to and again so often; this is the seventh time the chair has gone for her to-day.
LORD FROTH. I swear, my dear, you're going to spoil that child by sending for her so often; this is the seventh time the chair has gone for her today.
LADY FROTH. O law! I swear it’s but the sixth—and I haven’t seen her these two hours. The poor creature—I swear, my lord, you don’t love poor little Sapho. Come, my dear Cynthia, Mr. Brisk, we’ll go see Sapho, though my lord won’t.
LADY FROTH. Oh my! I can’t believe it’s only the sixth—and I haven’t seen her in two hours. The poor thing—I swear, my lord, you don’t love sweet little Sapho. Come on, my dear Cynthia, Mr. Brisk, let’s go check on Sapho, even though my lord won’t.
CYNT. I’ll wait upon your ladyship.
CYNT. I’ll wait for you, ma'am.
BRISK. Pray, madam, how old is Lady Sapho?
BRISK. Please, madam, how old is Lady Sapho?
LADY FROTH. Three-quarters, but I swear she has a world of wit, and can sing a tune already. My lord, won’t you go? Won’t you? What! not to see Saph? Pray, my lord, come see little Saph. I knew you could not stay.
LADY FROTH. Three-quarters, but I promise she has a ton of wit and can already sing a song. My lord, will you go? Won’t you? What! Not to see Saph? Please, my lord, come see little Saph. I knew you couldn’t stay.
SCENE XII.
Cynthia alone.
Cynthia by herself.
CYNT. ’Tis not so hard to counterfeit joy in the depth of affliction, as to dissemble mirth in company of fools. Why should I call ’em fools? The world thinks better of ’em; for these have quality and education, wit and fine conversation, are received and admired by the world. If not, they like and admire themselves. And why is not that true wisdom? for ’tis happiness: and for ought I know, we have misapplied the name all this while, and mistaken the thing: since
CYNT. It’s not so difficult to fake happiness in the depths of suffering, as it is to pretend to be cheerful among fools. Why do I call them fools? The world thinks better of them; they have status and education, charm and great conversation, and they are accepted and admired by society. If not, they still like and admire themselves. And isn’t that true wisdom? Because it’s happiness: and for all I know, we’ve been using the wrong name all this time and misunderstanding the actual essence: since
If happiness in self-content is placed,
The wise are wretched, and fools only bless’d.If happiness comes from being satisfied with who you are,
Then the wise are unhappy, and only fools are truly blessed.
ACT IV.
SCENE I.
Mellefont and Cynthia.
Mellefont and Cynthia.
CYNT. I heard him loud as I came by the closet-door, and my lady with him, but she seemed to moderate his passion.
CYNT. I heard him clearly as I walked past the closet door, and my lady was with him, but she seemed to calm his emotions.
MEL. Ay, hell thank her, as gentle breezes moderate a fire; but I shall counter-work her spells, and ride the witch in her own bridle.
MEL. Yeah, sure, thank her, just like gentle breezes calm a fire; but I’ll undo her magic and take control of her own game.
CYNT. It’s impossible; she’ll cast beyond you still. I’ll lay my life it will never be a match.
CYNT. It’s impossible; she’ll still outshine you. I’ll bet my life it will never be a match.
MEL. What?
MEL. Huh?
CYNT. Between you and me.
CYNT. Between you and me.
MEL. Why so?
MEL. Why's that?
CYNT. My mind gives me it won’t, because we are both willing. We each of us strive to reach the goal, and hinder one another in the race. I swear it never does well when the parties are so agreed; for when people walk hand in hand there’s neither overtaking nor meeting. We hunt in couples, where we both pursue the same game but forget one another; and ’tis because we are so near that we don’t think of coming together.
CYNT. My mind tells me it won’t work, because we are both willing. We are both trying to reach the goal, but we also get in each other's way. I swear things never go well when both sides are so in sync; when people walk together, there's no overtaking or meeting. We hunt in pairs, where we both go after the same goal but forget about each other; it’s because we are so close that we don’t think about coming together.
MEL. Hum, ’gad I believe there’s something in it. Marriage is the game that we hunt, and while we think that we only have it in view, I don’t see but we have it in our power.
MEL. Hmm, I really think there’s something to that. Marriage is the prize we’re after, and while we believe we’re only aiming for it, I don’t see why we don’t have the ability to go after it.
CYNT. Within reach; for example, give me your hand. You have looked through the wrong end of the perspective all this while, for nothing has been between us but our fears.
CYNT. Within reach; for instance, give me your hand. You've been seeing things the wrong way all this time, because the only thing that has kept us apart is our fears.
MEL. I don’t know why we should not steal out of the house this very moment and marry one another, without consideration or the fear of repentance. Pox o’ fortune, portion, settlements, and jointures.
MEL. I don’t see why we shouldn’t sneak out of the house right now and get married, without worrying about anything or regretting it later. Forget about luck, money, property, and contracts.
CYNT. Ay, ay, what have we to do with ’em? You know we marry for love.
CYNT. Yeah, what do we have to do with them? You know we marry for love.
MEL. Love, love, downright, very villainous love.
MEL. Love, love, pure, totally wicked love.
CYNT. And he that can’t live upon love deserves to die in a ditch. Here then, I give you my promise, in spite of duty, any temptation of wealth, your inconstancy, or my own inclination to change—
CYNT. And anyone who can't survive on love deserves to die in a ditch. So here, I give you my promise, despite my obligations, any temptation of wealth, your unreliability, or my own tendency to change—
MEL. To run most wilfully and unreasonably away with me this moment and be married.
MEL. To stubbornly and irrationally run away with me right now and get married.
CYNT. Hold. Never to marry anybody else.
CYNT. Wait. I’ll never marry anyone else.
MEL. That’s but a kind of negative consent. Why, you won’t baulk the frolic?
MEL. That’s just a form of saying no. Come on, you’re not going to back out of the fun, are you?
CYNT. If you had not been so assured of your own conduct I would not. But ’tis but reasonable that since I consent to like a man without the vile consideration of money, he should give me a very evident demonstration of his wit: therefore let me see you undermine my Lady Touchwood, as you boasted, and force her to give her consent, and then—
CYNT. If you hadn't been so confident in your own behavior, I wouldn't. But it's only fair that since I agree to like a man without the nasty consideration of money, he should show me a clear demonstration of his intelligence. So let me see you undermine Lady Touchwood, as you claimed you would, and make her give her consent, and then—
MEL. I’ll do’t.
MEL. I’ll do it.
CYNT. And I’ll do’t.
CYNT. And I'll do it.
MEL. This very next ensuing hour of eight o’clock is the last minute of her reign, unless the devil assist her in propriâ personâ.
MEL. This very next hour at eight o’clock is the last minute of her reign, unless the devil helps her in propriâ personâ.
CYNT. Well, if the devil should assist her, and your plot miscarry—
CYNT. Well, if the devil helps her out, and your plan fails—
MEL. Ay, what am I to trust to then?
MEL. Yeah, what am I supposed to rely on then?
CYNT. Why, if you give me very clear demonstration that it was the devil, I’ll allow for irresistible odds. But if I find it to be only chance, or destiny, or unlucky stars, or anything but the very devil, I’m inexorable: only still I’ll keep my word, and live a maid for your sake.
CYNT. Why, if you show me clear proof that it was the devil, I’ll accept that it's impossible to resist. But if I discover it’s just luck, fate, or bad luck, or anything other than the devil himself, I won’t change my mind: still, I’ll keep my promise and stay a maiden for you.
MEL. And you won’t die one, for your own, so still there’s hope.
MEL. And you won’t die alone, so there’s still hope.
CYNT. Here’s my mother-in-law, and your friend Careless; I would not have ’em see us together yet.
CYNT. Here's my mother-in-law, and your friend Careless; I wouldn't want them to see us together just yet.
SCENE II.
Careless and Lady Plyant.
Careless and Lady Plyant.
LADY PLYANT. I swear, Mr. Careless, you are very alluring, and say so many fine things, and nothing is so moving to me as a fine thing. Well, I must do you this justice, and declare in the face of the world, never anybody gained so far upon me as yourself. With blushes I must own it, you have shaken, as I may say, the very foundation of my honour. Well, sure, if I escape your importunities, I shall value myself as long as I live, I swear.
LADY PLYANT. I swear, Mr. Careless, you are very charming and say so many nice things, and nothing touches me quite like a compliment. Well, I must give you credit, and admit openly that no one has gotten to me as much as you have. With embarrassment, I have to confess that you’ve shaken, as they say, the very core of my reputation. Well, if I manage to resist your advances, I’ll be proud of myself for the rest of my life, I swear.
CARE. And despise me. [Sighing.]
CARE. And hate me. [Sighing.]
LADY PLYANT. The last of any man in the world, by my purity; now you make me swear. O gratitude forbid, that I should ever be wanting in a respectful acknowledgment of an entire resignation of all my best wishes for the person and parts of so accomplished a person, whose merit challenges much more, I’m sure, than my illiterate praises can description.
LADY PLYANT. The last person I would ever expect this from; now you're making me swear. Oh, gratitude forbid that I ever fail to show a respectful acknowledgment of my complete submission of all my best wishes for someone as accomplished as you, whose merits deserve much more, I’m sure, than my unrefined praises can express.
CARE. [In a whining tone.] Ah heavens, madam, you ruin me with kindness. Your charming tongue pursues the victory of your eyes, while at your feet your poor adorer dies.
CARE. [In a whining tone.] Oh no, ma'am, your kindness is destroying me. Your delightful words chase the triumph of your eyes, while at your feet your poor admirer perishes.
LADY PLYANT. Ah! Very fine.
LADY PLYANT. Ah! So impressive.
CARE. [Still whining.] Ah, why are you so fair, so bewitching fair? O let me grow to the ground here, and feast upon that hand; O let me press it to my heart, my trembling heart: the nimble movement shall instruct your pulse, and teach it to alarm desire. (Zoons, I’m almost at the end of my cant, if she does not yield quickly.) [Aside.]
CARE. [Still whining.] Ah, why are you so beautiful, so enchanting? Oh, let me fall to the ground here, and savor that hand; oh, let me press it to my heart, my beating heart: the quick movement will teach your pulse and show it how to stir desire. (Wow, I’m almost done with my speech if she doesn’t give in soon.) [Aside.]
LADY PLYANT. O that’s so passionate and fine, I cannot hear. I am not safe if I stay, and must leave you.
LADY PLYANT. Oh, that’s so intense and beautiful, I can’t handle it. I won’t be okay if I stay, so I have to leave you.
CARE. And must you leave me! Rather let me languish out a wretched life, and breath my soul beneath your feet. (I must say the same thing over again, and can’t help it.) [Aside.]
CARE. And do you really have to leave me! I’d rather suffer through a miserable life and spend my days beneath your feet. (I have to repeat myself, and I can't help it.) [Aside.]
LADY PLYANT. I swear I’m ready to languish too! O my honour! Whither is it going? I protest you have given me the palpitation of the heart.
LADY PLYANT. I swear I’m ready to feel weak too! Oh my goodness! Where is this going? I promise you’ve made my heart race.
CARE. Can you be so cruel—
CARE. Can you really be that cruel—
LADY PLYANT. O rise, I beseech you, say no more till you rise. Why did you kneel so long? I swear I was so transported, I did not see it. Well, to show you how far you have gained upon me, I assure you, if Sir Paul should die, of all mankind there’s none I’d sooner make my second choice.
LADY PLYANT. Oh please get up, I beg you, don’t say another word until you stand. Why did you stay on your knees for so long? I swear I was so caught up in the moment, I didn’t even notice. Well, to show you how much you've impressed me, I promise you, if Sir Paul were to pass away, there’s no one I’d rather choose as my second option than you.
CARE. O Heaven! I can’t out-live this night without your favour; I feel my spirits faint, a general dampness overspreads my face, a cold deadly dew already vents through all my pores, and will to-morrow wash me for ever from your sight, and drown me in my tomb.
CARE. O Heaven! I can’t survive this night without your support; I feel my energy fading, a heavy gloom covers my face, a cold, deadly sweat is already seeping through all my pores, and tomorrow will wash me away from your sight forever, drowning me in my grave.
LADY PLYANT. Oh, you have conquered, sweet, melting, moving sir, you have conquered. What heart of marble can refrain to weep, and yield to such sad sayings! [Cries.]
LADY PLYANT. Oh, you’ve won, charming, heartfelt sir, you’ve won. What heart of stone can hold back tears and resist such sorrowful words! [Cries.]
CARE. I thank Heaven, they are the saddest that I ever said. Oh! (I shall never contain laughter.) [Aside.]
CARE. I thank Heaven, these are the saddest words I've ever spoken. Oh! (I can’t hold back my laughter.) [Aside.]
LADY PLYANT. Oh, I yield myself all up to your uncontrollable embraces. Say, thou dear dying man, when, where, and how. Ah, there’s Sir Paul.
LADY PLYANT. Oh, I completely submit to your irresistible hugs. Tell me, dear dying man, when, where, and how. Ah, there’s Sir Paul.
CARE. ’Slife, yonder’s Sir Paul, but if he were not come, I’m so transported I cannot speak. This note will inform you. [Gives her a note.]
CARE. ’Slife, there’s Sir Paul, but if he hadn't shown up, I’m so overwhelmed I can’t speak. This note will explain everything. [Gives her a note.]
SCENE III.
Lady Plyant, Sir Paul, Cynthia.
Lady Plyant, Sir Paul, Cynthia.
SIR PAUL. Thou art my tender lambkin, and shalt do what thou wilt. But endeavour to forget this Mellefont.
SIR PAUL. You are my sweet little lamb, and you can do what you want. But try to forget this Mellefont.
CYNT. I would obey you to my power, sir; but if I have not him, I have sworn never to marry.
CYNT. I would do my best to obey you, sir; but if I don’t have him, I’ve sworn never to marry.
SIR PAUL. Never to marry! Heavens forbid! must I neither have sons nor grandsons? Must the family of the Plyants be utterly extinct for want of issue male? O impiety! But did you swear, did that sweet creature swear? ha! How durst you swear without my consent, ah? Gads-bud, who am I?
SIR PAUL. Never get married! Heaven forbid! Do I have to live without sons or grandsons? Does the Plyant family have to die out just because there are no male heirs? Oh, what a disgrace! But did you really swear, did that lovely person swear? Ha! How could you swear without my permission, huh? Gosh, who do I think I am?
CYNT. Pray don’t be angry, sir, when I swore I had your consent; and therefore I swore.
CYNT. Please don’t be angry, sir, when I said I had your permission; and that’s why I swore.
SIR PAUL. Why then the revoking my consent does annul, or make of none effect your oath; so you may unswear it again. The law will allow it.
SIR PAUL. So, revoking my consent cancels your oath, making it invalid, so you can take it back. The law allows for that.
CYNT. Ay, but my conscience never will.
CYNT. Yeah, but my conscience never will.
SIR PAUL. Gads-bud, no matter for that, conscience and law never go together; you must not expect that.
SIR PAUL. Honestly, it doesn't matter; conscience and law never align; you can't expect that.
LADY PLYANT. Ay, but, Sir Paul, I conceive if she has sworn, d’ye mark me, if she has once sworn, it is most unchristian, inhuman, and obscene that she should break it. I’ll make up the match again, because Mr. Careless said it would oblige him. [Aside.]
LADY PLYANT. Yes, but, Sir Paul, I believe if she has sworn, you hear me, if she has sworn even once, it is extremely un-Christian, inhumane, and wrong for her to break it. I’ll fix the match again because Mr. Careless said it would help him. [Aside.]
SIR PAUL. Does your ladyship conceive so? Why, I was of that opinion once too. Nay, if your ladyship conceives so, I’m of that opinion again; but I can neither find my lord nor my lady to know what they intend.
SIR PAUL. Do you really think that, my lady? Well, I used to think that way too. Actually, if you believe that, I’m back to thinking that way again; but I can’t find either my lord or my lady to see what they plan to do.
LADY PLYANT. I’m satisfied that my cousin Mellefont has been much wronged.
LADY PLYANT. I'm convinced that my cousin Mellefont has been treated very unfairly.
CYNT. [Aside.] I’m amazed to find her of our side, for I’m sure she loved him.
CYNT. [Aside.] I’m surprised to see her on our side, because I’m certain she loved him.
LADY PLYANT. I know my Lady Touchwood has no kindness for him; and besides I have been informed by Mr. Careless, that Mellefont had never anything more than a profound respect. That he has owned himself to be my admirer ’tis true, but he was never so presumptuous to entertain any dishonourable notions of things; so that if this be made plain, I don’t see how my daughter can in conscience, or honour, or anything in the world—
LADY PLYANT. I know my Lady Touchwood doesn't like him, and I've also heard from Mr. Careless that Mellefont has always had nothing but deep respect for me. It's true that he has admitted to being my admirer, but he has never been so bold as to think of anything inappropriate. So, if this is made clear, I don’t see how my daughter can, in good conscience, honor, or for any reason—
SIR PAUL. Indeed if this be made plain, as my lady, your mother, says, child—
SIR PAUL. If this is made clear, as your mother, my lady, says, child—
LADY PLYANT. Plain! I was informed of it by Mr. Careless. And I assure you, Mr. Careless is a person that has a most extraordinary respect and honour for you, Sir Paul.
LADY PLYANT. Plain! I heard it from Mr. Careless. And I promise you, Mr. Careless has a remarkable amount of respect and admiration for you, Sir Paul.
CYNT. [Aside.] And for your ladyship too, I believe, or else you had not changed sides so soon; now I begin to find it.
CYNT. [Aside.] And I think it’s for you too, or else you wouldn’t have switched sides so quickly; now I’m starting to see it.
SIR PAUL. I am much obliged to Mr. Careless really; he is a person that I have a great value for, not only for that, but because he has a great veneration for your ladyship.
SIR PAUL. I truly appreciate Mr. Careless; he is someone I hold in high regard, not just for that, but also because he has a deep respect for your ladyship.
LADY PLYANT. O las, no indeed, Sir Paul, ’tis upon your account.
LADY PLYANT. Oh no, really, Sir Paul, it’s because of you.
SIR PAUL. No, I protest and vow, I have no title to his esteem, but in having the honour to appertain in some measure to your ladyship, that’s all.
SIR PAUL. No, I insist and promise, I don't deserve his respect, except for the honor of being somewhat connected to you, my lady—that's it.
LADY PLYANT. O law now, I swear and declare it shan’t be so; you’re too modest, Sir Paul.
LADY PLYANT. Oh my, I swear it won't be like that; you're too humble, Sir Paul.
SIR PAUL. It becomes me, when there is any comparison made between—
SIR PAUL. It suits me when there’s any comparison made between—
LADY PLYANT. O fie, fie, Sir Paul, you’ll put me out of countenance. Your very obedient and affectionate wife; that’s all. And highly honoured in that title.
LADY PLYANT. Oh come on, Sir Paul, you're making me blush. Your very obedient and loving wife; that's all. And honored by that title.
SIR PAUL. Gads-bud, I am transported! Give me leave to kiss your ladyship’s hand.
SIR PAUL. Oh my gosh, I’m overwhelmed! May I please kiss your hand, my lady?
CYNT. That my poor father should be so very silly! [Aside.]
CYNT. It's so silly of my poor father! [Aside.]
LADY PLYANT. My lip indeed, Sir Paul, I swear you shall. [He kisses her, and bows very low.]
LADY PLYANT. My lip, really, Sir Paul, I swear you will. [He kisses her, and bows very low.]
SIR PAUL. I humbly thank your ladyship. I don’t know whether I fly on ground, or walk in air. Gads-bud, she was never thus before. Well, I must own myself the most beholden to Mr. Careless. As sure as can be, this is all his doing, something that he has said; well, ’tis a rare thing to have an ingenious friend. Well, your ladyship is of opinion that the match may go forward.
SIR PAUL. I sincerely thank you, my lady. I don’t know if I’m on the ground or floating in the air. Wow, she’s never been like this before. I have to admit, I owe everything to Mr. Careless. I’m sure he’s behind all of this, something he said; it’s really great to have a clever friend. So, my lady, do you think the arrangement can move forward?
LADY PLYANT. By all means. Mr. Careless has satisfied me of the matter.
LADY PLYANT. Definitely. Mr. Careless has convinced me about it.
SIR PAUL. Well, why then, lamb, you may keep your oath, but have a care about making rash vows; come hither to me, and kiss papa.
SIR PAUL. Well, then, sweetheart, you can stick to your promise, but be careful about making hasty vows; come here to me and give Dad a kiss.
LADY PLYANT. I swear and declare, I am in such a twitter to read Mr. Careless his letter, that I can’t forbear any longer. But though I may read all letters first by prerogative, yet I’ll be sure to be unsuspected this time, Sir Paul.
LADY PLYANT. I swear, I'm so eager to read Mr. Careless's letter that I can’t hold back any longer. But even though I usually get to read all the letters first by right, I’ll make sure to be discreet this time, Sir Paul.
SIR PAUL. Did your ladyship call?
SIR PAUL. Did you call, my lady?
LADY PLYANT. Nay, not to interrupt you, my dear. Only lend me your letter, which you had from your steward to-day; I would look upon the account again, and may be increase your allowance.
LADY PLYANT. No, I don’t want to interrupt you, my dear. Just lend me your letter, which you got from your steward today; I want to review the account again and maybe increase your allowance.
SIR PAUL. There it is, madam, do you want a pen and ink? [Bows and gives the letter.]
SIR PAUL. There it is, ma'am, do you need a pen and paper? [Bows and hands over the letter.]
LADY PLYANT. No, no, nothing else, I thank you, Sir Paul. So, now I can read my own letter under the cover of his. [Aside.]
LADY PLYANT. No, no, that's all, thank you, Sir Paul. So now I can read my own letter while using his cover. [Aside.]
SIR PAUL. He? And wilt thou bring a grandson at nine months end—he? A brave chopping boy. I’ll settle a thousand pound a year upon the rogue as soon as ever he looks me in the face, I will, gads-bud. I’m overjoyed to think I have any of my family that will bring children into the world. For I would fain have some resemblance of myself in my posterity, he, Thy? Can’t you contrive that affair, girl? Do, gads-bud, think on thy old father, heh? Make the young rogue as like as you can.
SIR PAUL. He? And are you really going to bring a grandson in nine months—he? A strong little guy. I’ll set up a thousand pounds a year for the rascal as soon as he looks me in the eye, I swear. I’m so happy to think I have any family who will bring children into the world. I really want to see some of myself in my descendants, you know? Can’t you make that happen, girl? Please, think about your old dad, okay? Make the little rascal look as much like me as you can.
CYNT. I’m glad to see you so merry, sir.
CYNT. I'm happy to see you so cheerful, sir.
SIR PAUL. Merry, gads-bud, I’m serious; I’ll give thee five hundred pounds for every inch of him that resembles me; ah, this eye, this left eye! A thousand pounds for this left eye. This has done execution in its time, girl; why, thou hast my leer, hussey, just thy father’s leer. Let it be transmitted to the young rogue by the help of imagination; why, ’tis the mark of our family, Thy; our house is distinguished by a languishing eye, as the house of Austria is by a thick lip. Ah! when I was of your age, hussey, I would have held fifty to one, I could have drawn my own picture—gads-bud I could have done—not so much as you, neither; but—nay, don’t blush.
SIR PAUL. Seriously, I’ll give you five hundred pounds for every inch of him that looks like me; oh, this eye, this left eye! A thousand pounds for this left eye. It has done its share of work in its time, girl; you’ve got my look, just like your father’s look. Let it be passed on to the little rascal through imagination; it’s the mark of our family, you know; our house is known for a dreamy eye, just like the house of Austria is known for a thick lip. Ah! when I was your age, I would have bet fifty to one that I could have drawn my own portrait—honestly, I could have—not to the extent that you can, though; but—don’t blush.
CYNT. I don’t blush, sir, for I vow I don’t understand.
CYNT. I don’t blush, sir, because I promise I don’t get it.
SIR PAUL. Pshaw, pshaw, you fib, you baggage, you do understand, and you shall understand; come, don’t be so nice. Gads-bud, don’t learn after your mother-in-law my lady here. Marry, heaven forbid that you should follow her example; that would spoil all indeed. Bless us! if you should take a vagary and make a rash resolution on your wedding night, to die a maid, as she did; all were ruined, all my hopes lost. My heart would break, and my estate would be left to the wide world, he? I hope you are a better Christian than to think of living a nun, he? Answer me?
SIR PAUL. Pshaw, pshaw, you’re lying, you sly thing, you do understand, and you will understand; come on, don’t be so prim. Goodness, don’t take after your mother-in-law, my lady here. I swear, heaven forbid you follow her example; that would ruin everything. Good grief! If you got a wild idea and decided, on your wedding night, to stay a virgin like she did, everything would be ruined, all my hopes gone. My heart would break, and my estate would be left to the world, right? I hope you’re a better person than to consider living as a nun, right? Answer me?
CYNT. I’m all obedience, sir, to your commands.
CYNT. I'm completely obedient, sir, to your orders.
LADY PLYANT. [Having read the letter.] O dear Mr. Careless, I swear he writes charmingly, and he looks charmingly, and he has charmed me, as much as I have charmed him; and so I’ll tell him in the wardrobe when ’tis dark. O criminy! I hope Sir Paul has not seen both letters. [Puts the wrong letter hastily up, and gives him her own.] Sir Paul, here’s your letter; to-morrow morning I’ll settle accounts to your advantage.
LADY PLYANT. [Having read the letter.] Oh dear Mr. Careless, I swear he writes beautifully, and he looks wonderful, and he has charmed me just as much as I've charmed him; so I'll let him know in the wardrobe when it’s dark. Oh my! I hope Sir Paul hasn’t seen both letters. [Puts the wrong letter away quickly, and hands him her own.] Sir Paul, here’s your letter; tomorrow morning I’ll settle things to your benefit.
SCENE IV.
[To them] Brisk.
To them, Brisk.
BRISK. Sir Paul, gads-bud, you’re an uncivil person, let me tell you, and all that; and I did not think it had been in you.
BRISK. Sir Paul, good grief, you’re an uncivil person, let me tell you, and all that; and I didn’t think that was in you.
SIR PAUL. O law, what’s the matter now? I hope you are not angry, Mr. Brisk.
SIR PAUL. Oh no, what's wrong now? I hope you're not mad, Mr. Brisk.
BRISK. Deuce take me, I believe you intend to marry your daughter yourself; you’re always brooding over her like an old hen, as if she were not well hatched, egad, he.
BRISK. Damn it, I think you're planning to marry off your daughter yourself; you’re always hovering over her like an old hen, as if she’s not properly raised, for heaven's sake.
SIR PAUL. Good strange! Mr. Brisk is such a merry facetious person, he, he, he. No, no, I have done with her, I have done with her now.
SIR PAUL. Good grief! Mr. Brisk is such a humorous, funny guy, ha ha. No, no, I'm done with her, I'm really done with her now.
BRISK. The fiddles have stayed this hour in the hall, and my Lord Froth wants a partner, we can never begin without her.
BRISK. The fiddles have been playing for an hour in the hall, and my Lord Froth is looking for a partner; we can't start without her.
SIR PAUL. Go, go child, go, get you gone and dance and be merry; I’ll come and look at you by and by. Where’s my son Mellefont?
SIR PAUL. Go on, kid, get out of here and dance and have fun; I'll come watch you in a bit. Where’s my son Mellefont?
LADY PLYANT. I’ll send him to them, I know where he is.
LADY PLYANT. I'll send him to them; I know where he is.
BRISK. Sir Paul, will you send Careless into the hall if you meet him?
BRISK. Sir Paul, could you send Careless into the hall if you run into him?
SIR PAUL. I will, I will, I’ll go and look for him on purpose.
SIR PAUL. I will, I will, I’ll go and search for him intentionally.
SCENE V.
Brisk alone.
Brisk solo.
BRISK. So now they are all gone, and I have an opportunity to practice. Ah! My dear Lady Froth, she’s a most engaging creature, if she were not so fond of that damned coxcombly lord of hers; and yet I am forced to allow him wit too, to keep in with him. No matter, she’s a woman of parts, and, egad, parts will carry her. She said she would follow me into the gallery. Now to make my approaches. Hem, hem! Ah ma- [bows.] dam! Pox on’t, why should I disparage my parts by thinking what to say? None but dull rogues think; witty men, like rich fellows, are always ready for all expenses; while your blockheads, like poor needy scoundrels, are forced to examine their stock, and forecast the charges of the day. Here she comes, I’ll seem not to see her, and try to win her with a new airy invention of my own, hem!
BRISK. So now they're all gone, and I have a chance to practice. Ah! My dear Lady Froth, she's quite the charming person, even if she is so taken with that insufferable lord of hers; though I have to admit he’s witty too, if I want to stay on his good side. No matter, she’s a woman of substance, and, by golly, substance will get her far. She mentioned she'd follow me into the gallery. Now to make my move. Hem, hem! Ah ma- [bows.] dam! Damn it, why should I sell myself short by overthinking what to say? Only dullards think; clever people, like wealthy folks, are always ready for anything; while idiots, like broke beggars, have to count their pennies and plan for the day’s expenses. Here she comes, I’ll pretend not to see her, and try to impress her with something new and clever of my own, hem!
SCENE VI.
[To him] Lady Froth.
[To him] Lady Froth.
BRISK [Sings, walking about.] ‘I’m sick with love,’ ha, ha, ha, ‘prithee, come cure me. I’m sick with,’ etc. O ye powers! O my Lady Froth, my Lady Froth, my Lady Froth! Heigho! Break heart; gods, I thank you. [Stands musing with his arms across.]
BRISK [Sings, walking around.] ‘I’m lovesick,’ ha, ha, ha, ‘please, come help me. I’m lovesick,’ etc. Oh, you gods! Oh my Lady Froth, my Lady Froth, my Lady Froth! Sigh! Break my heart; gods, I thank you. [Stands thinking with his arms crossed.]
LADY FROTH. O heavens, Mr. Brisk! What’s the matter?
LADY FROTH. Oh my gosh, Mr. Brisk! What’s wrong?
BRISK. My Lady Froth! Your ladyship’s most humble servant. The matter, madam? Nothing, madam, nothing at all, egad. I was fallen into the most agreeable amusement in the whole province of contemplation: that’s all—(I’ll seem to conceal my passion, and that will look like respect.) [Aside.]
BRISK. My Lady Froth! Your ladyship’s most humble servant. What can I do for you, madam? Nothing, madam, nothing at all, I assure you. I was caught up in the most delightful pastime of contemplation: that’s all—(I’ll pretend to hide my feelings, and that will come off as respect.) [Aside.]
LADY FROTH. Bless me, why did you call out upon me so loud?
LADY FROTH. Wow, why did you call out to me so loudly?
BRISK. O Lord, I, madam! I beseech your ladyship—when?
BRISK. Oh Lord, I, ma'am! I ask you—when?
LADY FROTH. Just now as I came in, bless me, why, don’t you know it?
LADY FROTH. I just walked in, and oh my, don't you know?
BRISK. Not I, let me perish. But did I? Strange! I confess your ladyship was in my thoughts; and I was in a sort of dream that did in a manner represent a very pleasing object to my imagination, but—but did I indeed?—To see how love and murder will out. But did I really name my Lady Froth?
BRISK. Not me, I’d rather die. But did I? Weird! I admit that your ladyship was on my mind; I was in a kind of dream that brought a very nice image to my thoughts, but—but did I really?—To see how love and murder always find a way to come out. But did I actually mention my Lady Froth?
LADY FROTH. Three times aloud, as I love letters. But did you talk of love? O Parnassus! Who would have thought Mr. Brisk could have been in love, ha, ha, ha. O heavens, I thought you could have no mistress but the Nine Muses.
LADY FROTH. Three times out loud, as I love letters. But did you really talk about love? Oh wow! Who would have thought Mr. Brisk could actually be in love, haha. Oh my, I thought you could only be devoted to the Nine Muses.
BRISK. No more I have, egad, for I adore ’em all in your ladyship. Let me perish, I don’t know whether to be splenetic, or airy upon’t; the deuce take me if I can tell whether I am glad or sorry that your ladyship has made the discovery.
BRISK. I have nothing more to say, I swear, because I adore all of them in your ladyship. Let me die, I can’t tell whether to be angry or cheerful about it; I can’t figure out if I’m happy or sad that your ladyship has found out.
LADY FROTH. O be merry by all means. Prince Volscius in love! Ha, ha, ha.
LADY FROTH. Oh, definitely be happy. Prince Volscius in love! Ha, ha, ha.
BRISK. O barbarous, to turn me into ridicule! Yet, ha, ha, ha. The deuce take me, I can’t help laughing myself, ha, ha, ha; yet by heavens, I have a violent passion for your ladyship, seriously.
BRISK. Oh, how cruel to make a fool of me! Yet, ha, ha, ha. I can't help but laugh at myself, ha, ha, ha; but honestly, I really do have strong feelings for you, my lady.
LADY FROTH. Seriously? Ha, ha, ha.
LADY FROTH. Seriously? Ha, ha, ha.
BRISK. Seriously, ha, ha, ha. Gad I have, for all I laugh.
BRISK. Seriously, ha ha ha. Wow, I have, despite all my laughter.
LADY FROTH. Ha, ha, ha! What d’ye think I laugh at? Ha, ha, ha.
LADY FROTH. Ha, ha, ha! What do you think I'm laughing at? Ha, ha, ha.
BRISK. Me, egad, ha, ha.
Brisk. Me, oh my, ha!
LADY FROTH. No, the deuce take me if I don’t laugh at myself; for hang me if I have not a violent passion for Mr. Brisk, ha, ha, ha.
LADY FROTH. No, damn it if I don’t laugh at myself; because I swear I have a crazy crush on Mr. Brisk, ha, ha, ha.
BRISK. Seriously?
BRISK. Really?
LADY FROTH. Seriously, ha, ha, ha.
LADY FROTH. Seriously, ha, ha, ha.
BRISK. That’s well enough; let me perish, ha, ha, ha. O miraculous; what a happy discovery. Ah my dear charming Lady Froth!
BRISK. That's good enough; let me die, ha, ha, ha. Oh miraculous; what a great discovery. Ah my dear charming Lady Froth!
LADY FROTH. Oh my adored Mr. Brisk! [Embrace.]
LADY FROTH. Oh my beloved Mr. Brisk! [Embrace.]
SCENE VII.
[To them] Lord Froth.
[To them] Lord Froth.
LORD FROTH. The company are all ready. How now?
LORD FROTH. The group's all set. What's going on?
BRISK. Zoons! madam, there’s my lord. [Softly to her.]
BRISK. Hey! Ma'am, there's my lord. [Softly to her.]
LADY FROTH. Take no notice, but observe me. Now, cast off, and meet me at the lower end of the room, and then join hands again; I could teach my lord this dance purely, but I vow, Mr. Brisk, I can’t tell how to come so near any other man. Oh here’s my lord, now you shall see me do it with him. [They pretend to practise part of a country dance.]
LADY FROTH. Ignore everyone else, but pay attention to me. Now, let’s separate and meet at the far end of the room, and then hold hands again; I could teach my lord this dance perfectly, but honestly, Mr. Brisk, I’m not sure how to get that close to any other man. Oh, here comes my lord, now you’ll see me do it with him. [They pretend to practice part of a country dance.]
LORD FROTH. Oh, I see there’s no harm yet, but I don’t like this familiarity. [Aside.]
LORD FROTH. Oh, I see there's no harm done yet, but I don't like this closeness. [Aside.]
LADY FROTH. Shall you and I do our close dance, to show Mr. Brisk?
LADY FROTH. Shall we do our little dance to show Mr. Brisk?
LORD FROTH. No, my dear, do it with him.
LORD FROTH. No, my dear, handle it with him.
LADY FROTH. I’ll do it with him, my lord, when you are out of the way.
LADY FROTH. I’ll take care of it with him, my lord, when you're not around.
BRISK. That’s good, egad, that’s good. Deuce take me, I can hardly hold laughing in his face. [Aside.]
BRISK. That’s great, wow, that’s great. Damn it, I can barely stop laughing in his face. [Aside.]
LORD FROTH. Any other time, my dear, or we’ll dance it below.
LORD FROTH. Any other time, my dear, or we’ll dance down there.
LADY FROTH. With all my heart.
LADY FROTH. Definitely.
BRISK. Come, my lord, I’ll wait on you. My charming witty angel! [To her.]
BRISK. Come on, my lord, I'll be your attendant. My charming, witty angel! [To her.]
LADY FROTH. We shall have whispering time enough, you know, since we are partners.
LADY FROTH. We’ll have plenty of quiet time to chat, you know, since we’re partners.
SCENE VIII.
Lady Plyant and Careless.
Lady Plyant and Careless.
LADY PLYANT. Oh, Mr. Careless, Mr. Careless, I’m ruined, I’m undone.
LADY PLYANT. Oh, Mr. Careless, Mr. Careless, I’m ruined, I’m finished.
CARE. What’s the matter, madam?
CARE. What's wrong, ma'am?
LADY PLYANT. Oh, the unluckiest accident, I’m afraid I shan’t live to tell it you.
LADY PLYANT. Oh, what a terrible accident, I’m afraid I won’t survive to tell you about it.
CARE. Heaven forbid! What is it?
CARE. Heaven forbid! What is it?
LADY PLYANT. I’m in such a fright; the strangest quandary and premunire! I’m all over in a universal agitation; I dare swear every circumstance of me trembles. O your letter, your letter! By an unfortunate mistake I have given Sir Paul your letter instead of his own.
LADY PLYANT. I'm so scared; I'm in the weirdest situation! I'm completely shaken up; I swear every part of me is trembling. Oh, your letter, your letter! By a terrible mistake, I've given Sir Paul your letter instead of his.
CARE. That was unlucky.
CARE. That was unfortunate.
LADY PLYANT. Oh, yonder he comes reading of it; for heaven’s sake step in here and advise me quickly before he sees.
LADY PLYANT. Oh, here he comes reading it; for heaven’s sake, step in here and help me quickly before he sees.
SCENE IX.
Sir Paul with the Letter.
Sir Paul with the Note.
SIR PAUL. O Providence, what a conspiracy have I discovered. But let me see to make an end on’t. [Reads.] Hum—After supper in the wardrobe by the gallery. If Sir Paul should surprise us, I have a commission from him to treat with you about the very matter of fact. Matter of fact! Very pretty; it seems that I am conducting to my own cuckoldom. Why, this is the very traitorous position of taking up arms by my authority, against my person! Well, let me see. Till then I languish in expectation of my adored charmer.—Dying Ned Careless. Gads-bud, would that were matter of fact too. Die and be damned for a Judas Maccabeus and Iscariot both. O friendship! what art thou but a name? Henceforward let no man make a friend that would not be a cuckold: for whomsoever he receives into his bosom will find the way to his bed, and there return his caresses with interest to his wife. Have I for this been pinioned, night after night for three years past? Have I been swathed in blankets till I have been even deprived of motion? Have I approached the marriage bed with reverence as to a sacred shrine, and denied myself the enjoyment of lawful domestic pleasures to preserve its purity, and must I now find it polluted by foreign iniquity? O my Lady Plyant, you were chaste as ice, but you are melted now, and false as water. But Providence has been constant to me in discovering this conspiracy; still, I am beholden to Providence. If it were not for Providence, sure, poor Sir Paul, thy heart would break.
SIR PAUL. O Providence, what a conspiracy have I discovered. But let me see to put an end to it. [Reads.] Hmm—After dinner in the wardrobe by the gallery. If Sir Paul should catch us, I have a mission from him to discuss with you the very matter at hand. Matter of fact! Quite clever; it seems that I am leading myself to being a cuckold. Why, this is the very treacherous act of taking up arms in my name against me! Well, let me see. Until then, I wait in anticipation for my beloved charmer.—Dying Ned Careless. Good heavens, I wish that were true too. Die and be damned, you traitor like Judas Maccabeus and Iscariot both. O friendship! what are you but a name? From now on, let no man make a friend who wouldn’t become a cuckold: for anyone he welcomes into his life will find a way into his bed and repay his affection with interest to his wife. Have I endured this for three years, night after night? Have I been wrapped in blankets until I couldn’t even move? Have I approached the marriage bed with reverence, as if it were a sacred shrine, and denied myself the enjoyment of lawful domestic pleasures to keep it pure, only to find it now tainted by outside wrongdoing? O my Lady Plyant, you were as pure as ice, but now you’ve melted and are as false as water. But Providence has been consistent in revealing this conspiracy to me; still, I owe thanks to Providence. If it weren't for Providence, surely poor Sir Paul, your heart would break.
SCENE X.
[To him] Lady Plyant.
[To him] Lady Plyant.
LADY PLYANT. So, sir, I see you have read the letter. Well, now, Sir Paul, what do you think of your friend Careless? Has he been treacherous, or did you give his insolence a licence to make trial of your wife’s suspected virtue? D’ye see here? [Snatches the letter as in anger.] Look, read it. Gads my life, if I thought it were so, I would this moment renounce all communication with you. Ungrateful monster! He? is it so? Ay, I see it, a plot upon my honour; your guilty cheeks confess it. Oh, where shall wronged virtue fly for reparation? I’ll be divorced this instant.
LADY PLYANT. So, sir, I see you've read the letter. Well then, Sir Paul, what do you think of your friend Careless? Has he been deceitful, or did you let his arrogance test your wife’s supposed virtue? Do you see this? [Grabs the letter in anger.] Look, read it. Goodness, if I thought it were true, I would right now cut off all communication with you. Ungrateful monster! Is it really so? Yes, I see it, a scheme against my honor; your guilty face reveals it. Oh, where can wronged virtue go for justice? I’ll get a divorce right this moment.
SIR PAUL. Gads-bud, what shall I say? This is the strangest surprise. Why, I don’t know anything at all, nor I don’t know whether there be anything at all in the world, or no.
SIR PAUL. Goodness, what should I say? This is the most bizarre surprise. I mean, I don't know anything at all, and I can't even tell if there is anything in the world or not.
LADY PLYANT. I thought I should try you, false man. I, that never dissembled in my life, yet to make trial of you, pretended to like that monster of iniquity, Careless, and found out that contrivance to let you see this letter, which now I find was of your own inditing—I do, heathen, I do. See my face no more; I’ll be divorced presently.
LADY PLYANT. I wanted to test you, deceitful man. I, who have never pretended in my life, acted like I liked that terrible person, Careless, just to see how you’d react. I discovered that this letter, which I now realize you wrote, was part of your plan—I do see it, you scoundrel, I do. Don’t show your face to me again; I’ll get divorced soon.
SIR PAUL. O strange, what will become of me? I’m so amazed, and so overjoyed, so afraid, and so sorry. But did you give me this letter on purpose, he? Did you?
SIR PAUL. Oh strange, what's going to happen to me? I'm so amazed, so overjoyed, so scared, and so sorry. But did you really give me this letter on purpose, huh? Did you?
LADY PLYANT. Did I? Do you doubt me, Turk, Saracen? I have a cousin that’s a proctor in the Commons; I’ll go to him instantly.
LADY PLYANT. Did I? Do you doubt me, Turk, Saracen? I have a cousin who's a proctor in the Commons; I’ll go to him right away.
SIR PAUL. Hold, stay, I beseech your ladyship. I’m so overjoyed, stay, I’ll confess all.
SIR PAUL. Wait, please, I’m asking you, my lady. I’m so thrilled, please stay, and I’ll tell you everything.
LADY PLYANT. What will you confess, Jew?
LADY PLYANT. What will you admit, Jew?
SIR PAUL. Why, now, as I hope to be saved, I had no hand in this letter—nay, hear me, I beseech your ladyship. The devil take me now if he did not go beyond my commission. If I desired him to do any more than speak a good word only just for me; gads-bud, only for poor Sir Paul, I’m an Anabaptist, or a Jew, or what you please to call me.
SIR PAUL. Why, as I hope to be saved, I didn't write this letter—please, just hear me out, I beg you. The devil take me if he didn’t go beyond what I asked. If I wanted him to do anything more than just say a good word on my behalf; honestly, just for poor Sir Paul, then call me an Anabaptist, a Jew, or whatever you want.
LADY PLYANT. Why, is not here matter of fact?
LADY PLYANT. Why, isn't this a matter of fact?
SIR PAUL. Ay, but by your own virtue and continency that matter of fact is all his own doing. I confess I had a great desire to have some honours conferred upon me, which lie all in your ladyship’s breast, and he being a well-spoken man, I desired him to intercede for me.
SIR PAUL. Yes, but thanks to your own virtue and self-control, that situation is entirely his responsibility. I admit I really wanted to receive some honors, which are all in your ladyship’s hands, and since he is an eloquent man, I asked him to speak on my behalf.
LADY PLYANT. Did you so? presumption! Oh, he comes, the Tarquin comes; I cannot bear his sight.
LADY PLYANT. Did you really? How arrogant! Oh, he’s here, the Tarquin is here; I can't stand to look at him.
SCENE XI.
Careless, Sir Paul.
Careless, Sir Paul.
CARE. Sir Paul, I’m glad I’ve met with you, ’gad, I have said all I could, but can’t prevail. Then my friendship to you has carried me a little farther in this matter.
CARE. Sir Paul, I’m glad to have met with you. I’ve said everything I could, but I can’t seem to make any progress. So, my friendship for you has pushed me a bit further in this situation.
SIR PAUL. Indeed; well sir, I’ll dissemble with him a little. [Aside.]
SIR PAUL. Sure; well, I'll play along with him for a bit. [Aside.]
CARE. Why, faith I have in my time known honest gentlemen abused by a pretended coyness in their wives, and I had a mind to try my lady’s virtue. And when I could not prevail for you, gad, I pretended to be in love myself; but all in vain, she would not hear a word upon that subject. Then I writ a letter to her; I don’t know what effects that will have, but I’ll be sure to tell you when I do, though by this light I believe her virtue is impregnable.
CARE. Honestly, I've seen good men mistreated by the fake shyness of their wives, and I wanted to test my lady’s virtue. When I couldn’t get through to you, I pretended to be in love myself; but it was all for nothing, she wouldn’t listen to a word about it. Then I wrote her a letter; I don’t know what effect that will have, but I'll definitely let you know when I find out. Honestly, I believe her virtue is unbreakable.
SIR PAUL. O Providence! Providence! What discoveries are here made? Why, this is better and more miraculous than the rest.
SIR PAUL. O Providence! Providence! What discoveries have been made here? Wow, this is better and more amazing than the others.
CARE. What do you mean?
CARE. What do you mean?
SIR PAUL. I can’t tell you, I’m so overjoyed; come along with me to my lady, I can’t contain myself; come, my dear friend.
SIR PAUL. I can’t express how happy I am; come with me to see my lady, I just can’t hold it in; come on, my dear friend.
CARE. So, so, so, this difficulty’s over. [Aside.]
CARE. So, this difficulty is done. [Aside.]
SCENE XII.
Mellefont, Maskwell, from different doors.
Mellefont, Maskwell, from different doors.
MEL. Maskwell! I have been looking for you—’tis within a quarter of eight.
MEL. Maskwell! I've been looking for you—it's almost a quarter to eight.
MASK. My lady is just gone into my lord’s closet, you had best steal into her chamber before she comes, and lie concealed there, otherwise she may lock the door when we are together, and you not easily get in to surprise us.
MASK. My lady just went into my lord’s closet, you should sneak into her room before she gets back, and hide there. Otherwise, she might lock the door when we’re together, and you won’t be able to get in to catch us off guard.
MEL. He? You say true.
He's telling the truth.
MASK. You had best make haste, for after she has made some apology to the company for her own and my lord’s absence all this while, she’ll retire to her chamber instantly.
MASK. You should hurry, because after she apologizes to the guests for her and my lord’s absence all this time, she’ll head to her room right away.
MEL. I go this moment. Now, fortune, I defy thee.
MEL. I’m leaving right now. Come on, fate, I challenge you.
SCENE XIII.
Maskwell alone.
Maskwell by themselves.
MASK. I confess you may be allowed to be secure in your own opinion; the appearance is very fair, but I have an after-game to play that shall turn the tables, and here comes the man that I must manage.
MASK. I admit you might feel confident in your own view; things look good on the surface, but I have a plan up my sleeve that will change everything, and here comes the guy I need to deal with.
SCENE XIV.
[To him] Lord Touchwood.
[To him] Lord Touchwood.
LORD TOUCH. Maskwell, you are the man I wished to meet.
LORD TOUCH. Maskwell, you’re the person I wanted to meet.
MASK. I am happy to be in the way of your lordship’s commands.
MASK. I’m glad to follow your lordship’s orders.
LORD TOUCH. I have always found you prudent and careful in anything that has concerned me or my family.
LORD TOUCH. I've always thought you were wise and cautious when it comes to anything that involves me or my family.
MASK. I were a villain else. I am bound by duty and gratitude, and my own inclination, to be ever your lordship’s servant.
MASK. If I were a villain, I wouldn't be. I am obligated by duty and gratitude, as well as my own desire, to always be your lordship’s servant.
LORD TOUCH. Enough. You are my friend; I know it. Yet there has been a thing in your knowledge, which has concerned me nearly, that you have concealed from me.
LORD TOUCH. Enough. You are my friend; I know it. But there’s something you’ve kept from me that’s really bothered me.
MASK. My lord!
MASK. My lord!
LORD TOUCH. Nay, I excuse your friendship to my unnatural nephew thus far. But I know you have been privy to his impious designs upon my wife. This evening she has told me all. Her good nature concealed it as long as was possible; but he perseveres so in villainy, that she has told me even you were weary of dissuading him, though you have once actually hindered him from forcing her.
LORD TOUCH. No, I can accept your friendship for my unnatural nephew to some extent. But I know you've been aware of his wicked plans concerning my wife. She finally told me everything this evening. Her kind-heartedness kept her from revealing it for as long as she could, but he's so relentless in his evil ways that she shared that even you got tired of trying to persuade him to stop, although you once actually prevented him from forcing himself on her.
MASK. I am sorry, my lord, I can’t make you an answer; this is an occasion in which I would not willing be silent.
MASK. I’m sorry, my lord, I can’t give you an answer; this is a situation where I would not want to be silent.
LORD TOUCH. I know you would excuse him—and I know as well that you can’t.
LORD TOUCH. I get that you would let him off the hook—and I also know that you really can’t.
MASK. Indeed I was in hopes it had been a youthful heat that might have soon boiled over; but—
MASK. I honestly thought it was just a youthful passion that would have fizzled out quickly; but—
LORD TOUCH. Say on.
LORD TOUCH. Go ahead.
MASK. I have nothing more to say, my lord; but to express my concern; for I think his frenzy increases daily.
MASK. I have nothing more to say, my lord; I just want to express my concern because I think his madness is getting worse every day.
LORD TOUCH. How! Give me but proof of it, ocular proof, that I may justify my dealing with him to the world, and share my fortunes.
LORD TOUCH. How! Just give me evidence of it, something I can see, so I can explain my actions to everyone and share my fate.
MASK. O my lord! consider; that is hard. Besides, time may work upon him. Then, for me to do it! I have professed an everlasting friendship to him.
MASK. O my lord! Think about it; that's difficult. Plus, time might change things for him. And for me to go through with it! I have promised him my lasting friendship.
LORD TOUCH. He is your friend; and what am I?
LORD TOUCH. He's your friend; and what about me?
MASK. I am answered.
MASK. I have a response.
LORD TOUCH. Fear not his displeasure; I will put you out of his, and fortune’s power, and for that thou art scrupulously honest, I will secure thy fidelity to him, and give my honour never to own any discovery that you shall make me. Can you give me a demonstrative proof? Speak.
LORD TOUCH. Don’t worry about his anger; I’ll protect you from him and fate's power, and because you are truly honest, I will ensure your loyalty to him, and I promise to never admit to any truth you reveal to me. Can you provide me with clear proof? Go ahead and speak.
MASK. I wish I could not. To be plain, my lord, I intended this evening to have tried all arguments to dissuade him from a design which I suspect; and if I had not succeeded, to have informed your lordship of what I knew.
MASK. I wish I could. To be honest, my lord, I planned to try every argument tonight to convince him against a plan that I suspect he has; and if I failed, I would have told you what I knew.
LORD TOUCH. I thank you. What is the villain’s purpose?
LORD TOUCH. Thank you. What does the villain want?
MASK. He has owned nothing to me of late, and what I mean now, is only a bare suspicion of my own. If your lordship will meet me a quarter of an hour hence there, in that lobby by my lady’s bed-chamber, I shall be able to tell you more.
MASK. He hasn't owed me anything lately, and what I'm thinking now is just a slight suspicion of my own. If you can meet me in about fifteen minutes in that lobby by my lady’s bedroom, I’ll be able to share more with you.
LORD TOUCH. I will.
LORD TOUCH. I got this.
MASK. My duty to your lordship makes me do a severe piece of justice.
MASK. My obligation to your lordship compels me to carry out a harsh act of justice.
LORD TOUCH. I will be secret, and reward your honesty beyond your hopes.
LORD TOUCH. I will keep this confidential and reward your honesty beyond what you expect.
SCENE XV.
Scene opening, shows Lady Touchwood’s chamber.
Scene opens, shows Lady Touchwood’s room.
Mellefont solus.
Mellefont alone.
MEL. Pray heaven my aunt keep touch with her assignation. O that her lord were but sweating behind this hanging, with the expectation of what I shall see. Hist, she comes. Little does she think what a mine is just ready to spring under her feet. But to my post. [Goes behind the hangings.]
MEL. I hope my aunt sticks to her appointment. Oh, if only her husband were sweating behind this curtain, waiting for what I’m about to see. Shh, here she comes. She has no idea there's a surprise about to explode right under her feet. But I need to take my position. [Goes behind the hangings.]
SCENE XVI.
Lady Touchwood.
Lady Touchwood.
LADY TOUCH. ’Tis eight o’clock; methinks I should have found him here. Who does not prevent the hour of love, outstays the time; for to be dully punctual is too slow. I was accusing you of neglect.
LADY TOUCH. It's eight o'clock; I thought I would find him here. Anyone who doesn’t hurry during the hour of love is just wasting time; being boringly on time is too slow. I was blaming you for not showing up.
SCENE XVII.
Lady Touchwood, Maskwell, Mellefont absconding.
Lady Touchwood, Maskwell, Mellefont running away.
MASK. I confess you do reproach me when I see you here before me; but ’tis fit I should be still behindhand, still to be more and more indebted to your goodness.
MASK. I admit you do blame me when I see you here in front of me; but it’s only right that I should still be behind, still needing to owe you even more for your kindness.
LADY TOUCH. You can excuse a fault too well, not to have been to blame. A ready answer shows you were prepared.
LADY TOUCH. You make it too easy to overlook a fault, which means you must have had some blame. A quick response indicates that you were expecting this.
MASK. Guilt is ever at a loss, and confusion waits upon it; when innocence and bold truth are always ready for expression.
MASK. Guilt is always confused, and uncertainty comes with it; whereas innocence and straightforward truth are always ready to be expressed.
LADY TOUCH. Not in love: words are the weak support of cold indifference; love has no language to be heard.
LADY TOUCH. Not in love: words are a weak crutch for cold indifference; love doesn’t have a language that can be heard.
MASK. Excess of joy has made me stupid! Thus may my lips be ever closed. [Kisses her.] And thus—O who would not lose his speech, upon condition to have joys above it?
MASK. Too much happiness has made me foolish! So my lips might as well stay shut. [Kisses her.] And so—oh, who wouldn’t want to lose their words if it meant having greater joys?
LADY TOUCH. Hold, let me lock the door first. [Goes to the door.]
LADY TOUCH. Wait, let me lock the door first. [Moves to the door.]
MASK. [Aside.] That I believed; ’twas well I left the private passage open.
MASK. [Aside.] I believed that; it was good I left the private passage open.
LADY TOUCH. So, that’s safe.
LADY TOUCH. So, that's secure.
MASK. And so may all your pleasures be, and secret as this kiss—
MASK. And may all your pleasures be just as hidden as this kiss—
MEL. And may all treachery be thus discovered. [Leaps out.]
MEL. And may all betrayal be revealed like this. [Leaps out.]
LADY TOUCH. Ah! [Shrieks.]
LADY TOUCH. Ah! [Screams.]
MEL. Villain! [Offers to draw.]
MEL. Villain! [Offers to sketch.]
MASK. Nay, then, there’s but one way. [Runs out.]
MASK. No, then, there’s only one way. [Runs out.]
SCENE XVIII.
Lady Touchwood, Mellefont.
Lady Touchwood, Mellefont.
MEL. Say you so, were you provided for an escape? Hold, madam, you have no more holes to your burrow; I’ll stand between you and this sally-port.
MEL. So you think, were you ready to escape? Wait, ma'am, you have no more exits to your hideout; I’ll stand between you and this escape route.
LADY TOUCH. Thunder strike thee dead for this deceit, immediate lightning blast thee, me, and the whole world! Oh! I could rack myself, play the vulture to my own heart, and gnaw it piecemeal, for not boding to me this misfortune.
LADY TOUCH. Thunder strike you dead for this betrayal, immediate lightning blast you, me, and the whole world! Oh! I could tear myself apart, become a vulture to my own heart, and chew it bit by bit, for not foreseeing this misfortune.
MEL. Be patient.
MEL. Chill out.
LADY TOUCH. Be damned.
LADY TOUCH. Forget it.
MEL. Consider, I have you on the hook; you will but flounder yourself a-weary, and be nevertheless my prisoner.
MEL. Think about it, I’ve got you trapped; you’ll only struggle and tire yourself out, yet you’ll still be my captive.
LADY TOUCH. I’ll hold my breath and die, but I’ll be free.
LADY TOUCH. I’ll hold my breath and die, but I’ll be free.
MEL. O madam, have a care of dying unprepared, I doubt you have some unrepented sins that may hang heavy, and retard your flight.
MEL. Oh ma'am, be careful of dying without being ready. I fear you may have some sins you haven't repented for that could weigh you down and delay your departure.
LADY TOUCH. O! what shall I do? say? Whither shall I turn? Has hell no remedy?
LADY TOUCH. O! What should I do? What should I say? Where should I go? Is there no way out of this?
MEL. None; hell has served you even as heaven has done, left you to yourself.—You’re in a kind of Erasmus paradise, yet if you please you may make it a purgatory; and with a little penance and my absolution all this may turn to good account.
MEL. None; hell has treated you just like heaven has, leaving you to your own devices. You’re in a sort of Erasmus paradise, but if you want, you can turn it into a purgatory; and with a bit of atonement and my forgiveness, all of this can lead to something positive.
LADY TOUCH. [Aside.] Hold in my passion, and fall, fall a little, thou swelling heart; let me have some intermission of this rage, and one minute’s coolness to dissemble. [She weeps.]
LADY TOUCH. [Aside.] Control my feelings, and calm down a bit, you beating heart; give me a moment of break from this anger, and a minute’s coolness to hide how I feel. [She weeps.]
MEL. You have been to blame. I like those tears, and hope they are of the purest kind,—penitential tears.
MEL. You are at fault. I appreciate those tears, and I hope they are the truest kind—tears of remorse.
LADY TOUCH. O the scene was shifted quick before me,—I had not time to think. I was surprised to see a monster in the glass, and now I find ’tis myself; can you have mercy to forgive the faults I have imagined, but never put in practice?—O consider, consider how fatal you have been to me, you have already killed the quiet of this life. The love of you was the first wandering fire that e’er misled my steps, and while I had only that in view, I was betrayed into unthought of ways of ruin.
LADY TOUCH. O, the scene changed so quickly in front of me—I didn’t have time to think. I was shocked to see a monster in the mirror, and now I realize it’s me. Can you have the mercy to forgive the faults I imagined but never acted on?—Oh, think about how destructive you’ve been to me. You’ve already taken away the peace of my life. My love for you was the first wandering flame that ever led me astray, and while I focused only on that, I was drawn into unexpected paths of destruction.
MEL. May I believe this true?
MEL. Can I really believe this is true?
LADY TOUCH. O be not cruelly incredulous.—How can you doubt these streaming eyes? Keep the severest eye o’er all my future conduct, and if I once relapse, let me not hope forgiveness; ’twill ever be in your power to ruin me. My lord shall sign to your desires; I will myself create your happiness, and Cynthia shall be this night your bride. Do but conceal my failings, and forgive.
LADY TOUCH. O, please don’t be heartlessly skeptical. How can you doubt these teary eyes? Keep a close watch on everything I do from now on, and if I ever mess up, don’t let me hope for forgiveness; you’ll always have the power to ruin me. My lord will agree to your wishes; I will create your happiness myself, and Cynthia will be your bride tonight. Just hide my flaws and forgive me.
MEL. Upon such terms I will be ever yours in every honest way.
MEL. On those terms, I will always be yours in every honest way.
SCENE XIX.
Maskwell softly introduces Lord Touchwood, and retires.
Maskwell gently introduces Lord Touchwood, and exits.
MASK. I have kept my word, he’s here, but I must not be seen.
MASK. I’ve kept my promise; he’s here, but I can’t be seen.
SCENE XX.
Lady Touchwood, Lord Touchwood, Mellefont.
Lady Touchwood, Lord Touchwood, Mellefont.
LORD TOUCH. Hell and amazement, she’s in tears.
LORD TOUCH. Wow, she’s in tears.
LADY TOUCH. [Kneeling.] Eternal blessings thank you.—Ha! my lord listening! O fortune has o’erpaid me all, all! all’s my own! [Aside.]
LADY TOUCH. [Kneeling.] Thank you for your endless blessings.—Ha! My lord is listening! Oh, fortune has given me everything, all of it! It’s all mine! [Aside.]
MEL. Nay, I beseech you rise.
MEL. No, please stand up.
LADY TOUCH. [Aloud.] Never, never! I’ll grow to the ground, be buried quick beneath it, e’er I’ll be consenting to so damned a sin as incest! unnatural incest!
LADY TOUCH. [Aloud.] Never, never! I’d rather sink into the earth and be buried under it than agree to such a terrible sin as incest! Unnatural incest!
MEL. Ha!
MEL. Haha!
LADY TOUCH. O cruel man, will you not let me go? I’ll forgive all that’s past. O heaven, you will not ravish me?
LADY TOUCH. Oh, cruel man, won’t you let me go? I’ll forgive everything that’s happened before. Oh my god, you’re not going to force me, are you?
MEL. Damnation!
MEL. Damn it!
LORD TOUCH. Monster, dog! your life shall answer this! [Draws and runs at Mellefont, is held by Lady Touchwood.]
LORD TOUCH. You beast, dog! You'll have to answer for this! [Draws and charges at Mellefont, but is stopped by Lady Touchwood.]
LADY TOUCH. O heavens, my lord! Hold, hold, for heaven’s sake.
LADY TOUCH. Oh my gosh, my lord! Stop, stop, for heaven’s sake.
MEL. Confusion, my uncle! O the damned sorceress.
MEL. Confusion, my uncle! Oh, that cursed sorceress.
LADY TOUCH. Moderate your rage, good my lord! He’s mad, alas, he’s mad. Indeed he is, my lord, and knows not what he does. See how wild he looks.
LADY TOUCH. Calm down, my lord! He’s crazy, oh no, he’s really crazy. It’s true, my lord, and he doesn’t know what he’s doing. Look how out of control he looks.
MEL. By heaven, ’twere senseless not to be mad, and see such witchcraft.
MEL. By heaven, it would be crazy not to be mad, seeing such magic.
LADY TOUCH. My lord, you hear him, he talks idly.
LADY TOUCH. My lord, you hear him, he's talking nonsense.
LORD TOUCH. Hence from my sight, thou living infamy to my name; when next I see that face, I’ll write villain in’t with my sword’s point.
LORD TOUCH. Get out of my sight, you living disgrace to my name; the next time I see that face, I’ll make sure to mark you as a villain with the tip of my sword.
MEL. Now, by my soul, I will not go till I have made known my wrongs. Nay, till I have made known yours, which, if possible, are greater,—though she has all the host of hell her servants.
MEL. Now, I swear, I won’t leave until I’ve made my wrongs known. No, I’ll also reveal yours, which, if it’s even possible, are worse—though she has all the demons of hell at her command.
LADY TOUCH. Alas, he raves! Talks very poetry! For heaven’s sake away, my lord, he’ll either tempt you to extravagance, or commit some himself.
LADY TOUCH. Oh no, he’s going on and on! Speaking in such flowery language! For heaven's sake, my lord, you need to leave; he’ll either lead you to do something reckless or end up doing something wild himself.
MEL. Death and furies, will you not hear me?—Why by heaven she laughs, grins, points to your back; she forks out cuckoldom with her fingers, and you’re running horn-mad after your fortune. [As she is going she turns back and smiles at him.]
MEL. Death and fury, will you not listen to me?—Why on earth is she laughing, grinning, and pointing at your back? She's making fun of your situation, and you're chasing after your luck like a madman. [As she leaves, she turns back and smiles at him.]
LORD TOUCH. I fear he’s mad indeed.—Let’s send Maskwell to him.
LORD TOUCH. I'm really worried he might be crazy.—Let’s send Maskwell to him.
MEL. Send him to her.
MEL. Send him to her.
LADY TOUCH. Come, come, good my lord, my heart aches so, I shall faint if I stay.
LADY TOUCH. Come on, my lord, my heart hurts so much, I’m going to faint if I stay here.
SCENE XXI.
Mellefont alone.
Mellefont alone.
MEL. Oh, I could curse my stars, fate, and chance; all causes and accidents of fortune in this life! But to what purpose? Yet, ’sdeath, for a man to have the fruit of all his industry grow full and ripe, ready to drop into his mouth, and just when he holds out his hand to gather it, to have a sudden whirlwind come, tear up tree and all, and bear away the very root and foundation of his hopes:—what temper can contain? They talk of sending Maskwell to me; I never had more need of him. But what can he do? Imagination cannot form a fairer and more plausible design than this of his which has miscarried. O my precious aunt, I shall never thrive without I deal with the devil, or another woman.
MEL. Oh, I could blame my stars, destiny, and chance; all the causes and accidents of fortune in this life! But what good would it do? Yet, damn it, for a guy to have the results of all his hard work grow full and ripe, just ready to fall into his hands, and then when he reaches out to grab it, a sudden whirlwind comes, tears up the tree, and takes away the very root of his hopes:—what frame of mind can handle that? They say they’re sending Maskwell to me; I’ve never needed him more. But what can he do? Imagination can’t come up with a better and more believable plan than the one of his that has failed. Oh my dear aunt, I won’t succeed unless I make a deal with the devil or another woman.
Women, like flames, have a destroying power,
Women, like fire, have a destructive force,
Ne’er to be quenched, till they themselves devour.
Never to be satisfied, until they consume themselves.
ACT V.
SCENE I.
Lady Touchwood and Maskwell.
Lady Touchwood and Maskwell.
LADY TOUCH. Was’t not lucky?
LADY TOUCH. Wasn't that lucky?
MASK. Lucky! Fortune is your own, and ’tis her interest so to be. By heaven I believe you can control her power, and she fears it: though chance brought my lord, ’twas your own art that turned it to advantage.
MASK. Lucky! Fortune is on your side, and it’s in her interest to be. By heaven, I believe you can master her power, and she’s afraid of it: although chance brought my lord, it was your own skill that made the most of it.
LADY TOUCH. ’Tis true it might have been my ruin. But yonder’s my lord. I believe he’s coming to find you: I’ll not be seen.
LADY TOUCH. It’s true it could have been my downfall. But there’s my lord. I think he’s coming to find you: I won’t be seen.
SCENE II.
Maskwell alone.
Maskwell by themselves.
MASK. So; I durst not own my introducing my lord, though it succeeded well for her, for she would have suspected a design which I should have been puzzled to excuse. My lord is thoughtful. I’ll be so too; yet he shall know my thoughts: or think he does.
MASK. So, I didn't dare admit that I introduced my lord, even though it worked out well for her, because she would have suspected a motive that I would have struggled to explain. My lord is deep in thought. I’ll be that way too; still, he'll know my thoughts—or at least think he does.
SCENE III.
[To him] Lord Touchwood.
[To him] Lord Touchwood.
MASK. What have I done?
MASK. What did I do?
LORD TOUCH. Talking to himself!
LORD TOUCH. Talking to himself!
MASK. ’Twas honest—and shall I be rewarded for it? No, ’twas honest, therefore I shan’t. Nay, rather therefore I ought not; for it rewards itself.
MASK. It was honest—and will I be rewarded for that? No, it was honest, so I won’t. No, I shouldn’t; because it rewards itself.
LORD TOUCH. Unequalled virtue! [Aside.]
LORD TOUCH. Unmatched virtue! [Aside.]
MASK. But should it be known, then I have lost a friend! He was an ill man, and I have gained; for half myself I lent him, and that I have recalled: so I have served myself, and what is yet better, I have served a worthy lord to whom I owe myself.
MASK. But if this gets out, then I’ve lost a friend! He was a sick man, and I’ve benefited; I lent him half of myself, and now I’ve taken that back: so I’ve done right by myself, and what’s even better, I’ve served a noble lord to whom I owe my loyalty.
LORD TOUCH. Excellent man! [Aside.]
LORD TOUCH. Great guy! [Aside.]
MASK. Yet I am wretched. Oh, there is a secret burns within this breast, which, should it once blaze forth, would ruin all, consume my honest character, and brand me with the name of villain.
MASK. Yet I’m miserable. Oh, there’s a secret burning inside me that, if it were ever to come out, would destroy everything, ruin my good reputation, and label me a villain.
LORD TOUCH. Ha!
LORD TOUCH. Ha!
MASK. Why do I love! Yet heaven and my waking conscience are my witnesses, I never gave one working thought a vent, which might discover that I loved, nor ever must. No, let it prey upon my heart; for I would rather die, than seem once, barely seem, dishonest. Oh, should it once be known I love fair Cynthia, all this that I have done would look like rival’s malice, false friendship to my lord, and base self-interest. Let me perish first, and from this hour avoid all sight and speech, and, if I can, all thought of that pernicious beauty. Ha! But what is my distraction doing? I am wildly talking to myself, and some ill chance might have directed malicious ears this way. [Seems to start, seeing my lord.]
MASK. Why do I love! Yet, heaven and my waking conscience are my witnesses, I never let a single thought slip that could reveal my love, nor will I ever. No, let it eat away at my heart; I would rather die than appear even once, to merely appear, dishonest. Oh, if it were ever known that I love fair Cynthia, everything I’ve done would seem like a rival’s malice, false friendship towards my lord, and selfishness. Let me perish first, and from this moment on, avoid all sight and speech, and if I can, all thoughts of that dangerous beauty. Ha! But what am I doing in this distraction? I’m talking to myself wildly, and some bad luck might have led malicious ears here. [Seems to start, seeing my lord.]
LORD TOUCH. Start not; let guilty and dishonest souls start at the revelation of their thoughts, but be thou fixed, as is thy virtue.
LORD TOUCH. Don't flinch; let guilty and dishonest people be startled by the truth of their thoughts, but stay steady, as your virtue demands.
MASK. I am confounded, and beg your Lordship’s pardon for those free discourses which I have had with myself.
MASK. I’m confused, and I ask for your Lordship’s forgiveness for the blunt conversations I’ve had with myself.
LORD TOUCH. Come, I beg your pardon that I overheard you, and yet it shall not need. Honest Maskwell! Thy and my good genius led me hither. Mine, in that I have discovered so much manly virtue; thine, in that thou shalt have due reward of all thy worth. Give me thy hand. My nephew is the alone remaining branch of all our ancient family: him I thus blow away, and constitute thee in his room to be my heir—
LORD TOUCH. Come on, I’m sorry that I overheard you, but it really doesn’t matter. Honest Maskwell! It seems that fate brought me here. I discovered so much admirable strength in you, and you will receive the proper recognition for all your value. Give me your hand. My nephew is the only last member of our old family line: I’m going to cast him aside and make you my heir instead—
MASK. Now heaven forbid—
MASK. Now God forbid—
LORD TOUCH. No more—I have resolved. The writings are ready drawn, and wanted nothing but to be signed, and have his name inserted. Yours will fill the blank as well. I will have no reply. Let me command this time; for ’tis the last in which I will assume authority. Hereafter, you shall rule where I have power.
LORD TOUCH. No more—I’ve made up my mind. The documents are all prepared, and they just need to be signed and his name added. Yours will fill in the empty space just as well. I won’t accept any responses. Let me take charge this time; it's the last time I’ll take control. From now on, you’ll have the power where I used to.
MASK. I humbly would petition—
MASK. I respectfully ask—
LORD TOUCH. Is’t for yourself? [Maskwell pauses.] I’ll hear of nought for anybody else.
LORD TOUCH. Is it for yourself? [Maskwell pauses.] I won’t hear anything about anyone else.
MASK. Then witness heaven for me, this wealth and honour was not of my seeking, nor would I build my fortune on another’s ruin. I had but one desire—
MASK. Then witness heaven for me, this wealth and honor was not something I sought, nor would I build my fortune on someone else's ruin. I had only one desire—
LORD TOUCH. Thou shalt enjoy it. If all I’m worth in wealth or interest can purchase Cynthia, she is thine. I’m sure Sir Paul’s consent will follow fortune. I’ll quickly show him which way that is going.
LORD TOUCH. You’ll love it. If all my wealth or influence can buy Cynthia, she’s yours. I’m sure Sir Paul will be on board once he sees the benefits. I’ll quickly show him where that’s headed.
MASK. You oppress me with bounty. My gratitude is weak, and shrinks beneath the weight, and cannot rise to thank you. What, enjoy my love! Forgive the transports of a blessing so unexpected, so unhoped for, so unthought of!
MASK. You overwhelm me with your generosity. My gratitude feels small and struggles under the weight, unable to express thanks. What, enjoy my love! Please forgive the overwhelming joy of a blessing this unexpected, this hopeful, this unimaginable!
LORD TOUCH. I will confirm it, and rejoice with thee.
LORD TOUCH. I will agree with you, and celebrate together.
SCENE IV.
Maskwell alone.
Maskwell by themselves.
MASK. This is prosperous indeed. Why let him find me out a villain, settled in possession of a fair estate, and full fruition of my love, I’ll bear the railings of a losing gamester. But should he find me out before! ’Tis dangerous to delay. Let me think. Should my lord proceed to treat openly of my marriage with Cynthia, all must be discovered, and Mellefont can be no longer blinded. It must not be; nay, should my lady know it—ay, then were fine work indeed! Her fury would spare nothing, though she involved herself in ruin. No, it must be by stratagem. I must deceive Mellefont once more, and get my lord to consent to my private management. He comes opportunely. Now will I, in my old way, discover the whole and real truth of the matter to him, that he may not suspect one word on’t.
MASK. This is pretty successful. Why let him discover that I’m a villain, comfortably owning a nice estate and happily in love? I can handle the insults of a losing gambler. But if he finds me out first! That would be risky to put off. Let me think. If my lord starts openly talking about my marriage with Cynthia, everything will come to light, and Mellefont won’t be fooled anymore. It can’t happen; no, if my lady finds out—oh, then it would be a real mess! Her anger wouldn’t hold back, even if it meant her own downfall. No, it has to be through cunning. I need to trick Mellefont one more time and get my lord to agree to let me handle things privately. He arrives just in time. Now I’ll reveal the whole and true story to him in my usual way so he won’t suspect a thing.
No mask like open truth to cover lies,
As to go naked is the best disguise.No mask is as effective as the truth at hiding lies,
And being fully open is the best disguise.
SCENE V.
[To him] Mellefont.
To him Mellefont.
MEL. O Maskwell, what hopes? I am confounded in a maze of thoughts, each leading into one another, and all ending in perplexity. My uncle will not see nor hear me.
MEL. O Maskwell, what hopes? I’m lost in a tangle of thoughts, each one linking to the next, and they all lead to confusion. My uncle won't see or hear me.
MASK. No matter, sir, don’t trouble your head: all’s in my power.
MASK. No worries, sir, don’t stress about it: everything's under my control.
MEL. How? For heaven’s sake?
MEL. How? Seriously?
MASK. Little do you think that your aunt has kept her word. How the devil she wrought my lord into this dotage, I know not; but he’s gone to Sir Paul about my marriage with Cynthia, and has appointed me his heir.
MASK. You probably don't realize that your aunt has actually kept her promise. I have no idea how she managed to convince my lord to be so infatuated, but he’s gone to Sir Paul about my marriage to Cynthia and has made me his heir.
MEL. The devil he has! What’s to be done?
MEL. The devil he has! What should we do?
MASK. I have it, it must be by stratagem; for it’s in vain to make application to him. I think I have that in my head that cannot fail. Where’s Cynthia?
MASK. I’ve got it; it has to be through clever planning because trying to get through to him is useless. I believe I have an idea that will definitely work. Where’s Cynthia?
MEL. In the garden.
In the garden.
MASK. Let us go and consult her: my life for yours, I cheat my lord.
MASK. Let’s go and talk to her: my life for yours, I’m deceiving my lord.
SCENE VI.
Lord Touchwood, Lady Touchwood.
Lord Touchwood, Lady Touchwood.
LADY TOUCH. Maskwell your heir, and marry Cynthia!
LADY TOUCH. Maskwell, marry Cynthia and make her your heir!
LORD TOUCH. I cannot do too much for so much merit.
LORD TOUCH. I can’t do enough for such great talent.
LADY TOUCH. But this is a thing of too great moment to be so suddenly resolved. Why Cynthia? Why must he be married? Is there not reward enough in raising his low fortune, but he must mix his blood with mine, and wed my niece? How know you that my brother will consent, or she? Nay, he himself perhaps may have affections otherwhere.
LADY TOUCH. But this is something too important to decide so quickly. Why Cynthia? Why does he have to get married? Isn’t it enough to improve his situation without having to join our family and marry my niece? How do you know my brother will agree, or that she will? He might have feelings for someone else altogether.
LORD TOUCH. No, I am convinced he loves her.
LORD TOUCH. No, I really believe he loves her.
LADY TOUCH. Maskwell love Cynthia? Impossible!
LADY TOUCH. Does Maskwell love Cynthia? No way!
LORD TOUCH. I tell you he confessed it to me.
LORD TOUCH. I swear he admitted it to me.
LADY TOUCH. Confusion! How’s this? [Aside.]
LADY TOUCH. Confusion! What's going on? [Aside.]
LORD TOUCH. His humility long stifled his passion. And his love of Mellefont would have made him still conceal it. But by encouragement, I wrung the secret from him, and know he’s no way to be rewarded but in her. I’ll defer my farther proceedings in it till you have considered it; but remember how we are both indebted to him.
LORD TOUCH. His humility had kept his passion under control for a long time. And his love for Mellefont would have made him hide it even more. But with some encouragement, I got the secret out of him, and I know he can only be rewarded through her. I’ll hold off on doing anything more about it until you’ve thought it over; but remember how we both owe him.
SCENE VII.
Lady Touchwood alone.
Lady Touchwood by herself.
LADY TOUCH. Both indebted to him! Yes, we are both indebted to him, if you knew all. Villain! Oh, I am wild with this surprise of treachery: it is impossible, it cannot be. He love Cynthia! What, have I been bawd to his designs, his property only, a baiting place? Now I see what made him false to Mellefont. Shame and distraction! I cannot bear it, oh! what woman can bear to be a property? To be kindled to a flame, only to light him to another’s arms; oh! that I were fire indeed that I might burn the vile traitor. What shall I do? How shall I think? I cannot think. All my designs are lost, my love unsated, my revenge unfinished, and fresh cause of fury from unthought of plagues.
LADY TOUCH. Both of us owe him! Yes, we both owe him, if you only knew everything. Villain! Oh, I’m overwhelmed by this shocking betrayal: it can't be true, it can't be. He loves Cynthia! What, have I been just a pawn in his schemes, his property, a mere distraction? Now I understand why he was false to Mellefont. Shame and confusion! I can't handle it, oh! What woman can stand to be just an object? To be ignited only to guide him into another’s arms; oh! I wish I were fire so I could burn the vile traitor. What should I do? How should I think? I can't think. All my plans are ruined, my love unfulfilled, my revenge incomplete, and now I'm faced with new reasons to rage from unexpected troubles.
SCENE VIII.
[To her] Sir Paul.
[To her] Sir Paul.
SIR PAUL. Madam, sister, my lady sister, did you see my lady my wife?
SIR PAUL. Ma'am, sister, my lady sister, did you see my lady, my wife?
LADY TOUCH. Oh! Torture!
LADY TOUCH. Oh! This is painful!
SIR PAUL. Gads-bud, I can’t find her high nor low; where can she be, think you?
SIR PAUL. Gosh, I can't find her anywhere; where do you think she could be?
LADY TOUCH. Where she’s serving you, as all your sex ought to be served, making you a beast. Don’t you know you’re a fool, brother?
LADY TOUCH. Where she's taking care of you, just like all your desires should be fulfilled, turning you into a beast. Don’t you realize you’re being foolish, brother?
SIR PAUL. A fool; he, he, he, you’re merry. No, no, not I, I know no such matter.
SIR PAUL. A fool; haha, you’re cheerful. No, no, not me, I don’t know anything like that.
LADY TOUCH. Why, then, you don’t know half your happiness.
LADY TOUCH. Why, then, you don’t even know half of your happiness.
SIR PAUL. That’s a jest with all my heart, faith and troth. But harkee, my lord told me something of a revolution of things; I don’t know what to make on’t. Gads-bud, I must consult my wife:—he talks of disinheriting his nephew, and I don’t know what. Look you, sister, I must know what my girl has to trust to, or not a syllable of a wedding, gads-bud!—to show you that I am not a fool.
SIR PAUL. That’s a joke I truly appreciate, honestly. But listen, my lord mentioned something about some big changes; I’m not sure what to think about it. Goodness, I need to talk to my wife about this:—he speaks of cutting his nephew out of the will, and I’m not sure what else. Look, sister, I need to know what my daughter can expect, or there won’t be a word about a wedding, seriously!—to prove that I’m not an idiot.
LADY TOUCH. Hear me: consent to the breaking off this marriage, and the promoting any other without consulting me, and I’ll renounce all blood, all relation and concern with you for ever; nay, I’ll be your enemy, and pursue you to destruction: I’ll tear your eyes out, and tread you under my feet.
LADY TOUCH. Hear me: agree to end this marriage and support any other without talking to me, and I’ll cut all ties, all connections with you forever; in fact, I’ll be your enemy and go after you until your downfall: I’ll rip your eyes out and trample you underfoot.
SIR PAUL. Why, what’s the matter now? Good Lord, what’s all this for? Pooh, here’s a joke indeed. Why, where’s my wife?
SIR PAUL. Why, what's going on now? Good grief, what's all this about? Ugh, this is just ridiculous. Where’s my wife?
LADY TOUCH. With Careless, in the close arbour; he may want you by this time, as much as you want her.
LADY TOUCH. With Careless, in the nearby arbor; he might need you by now, just as much as you need her.
SIR PAUL. Oh, if she be with Mr. Careless, ’tis well enough.
SIR PAUL. Oh, if she’s with Mr. Careless, that's fine.
LADY TOUCH. Fool, sot, insensible ox! But remember what I said to you, or you had better eat your own horns, by this light you had.
LADY TOUCH. Fool, idiot, mindless brute! But remember what I told you, or you might as well eat your own horns, I swear you should.
SIR PAUL. You’re a passionate woman, gads-bud! But to say truth all our family are choleric; I am the only peaceable person amongst ’em.
SIR PAUL. You're a passionate woman, wow! But to be honest, our whole family has a bad temper; I'm the only calm one among them.
SCENE IX.
Mellefont, Maskwell, and Cynthia.
Mellefont, Maskwell, and Cynthia.
MEL. I know no other way but this he has proposed: if you have love enough to run the venture.
MEL. I don't see any other option besides this one he's suggested: if you have enough love to take the chance.
CYNT. I don’t know whether I have love enough, but I find I have obstinacy enough to pursue whatever I have once resolved; and a true female courage to oppose anything that resists my will, though ’twere reason itself.
CYNT. I’m not sure if I have enough love, but I definitely have the stubbornness to go after whatever I’ve decided on; and a real kind of female courage to stand up against anything that challenges my will, even if it’s rational.
MASK. That’s right. Well, I’ll secure the writings and run the hazard along with you.
MASK. That's right. Well, I'll take care of the writings and take the risk with you.
CYNT. But how can the coach and six horses be got ready without suspicion?
CYNT. But how can we get the coach and six horses ready without raising any suspicion?
MASK. Leave it to my care; that shall be so far from being suspected, that it shall be got ready by my lord’s own order.
MASK. Leave it to me; it will be so well handled that it won't raise any suspicion, and it will be prepared by my lord's own command.
MEL. How?
MEL. How?
MASK. Why, I intend to tell my lord the whole matter of our contrivance; that’s my way.
MASK. Why, I plan to tell my lord everything about our scheme; that’s my style.
MEL. I don’t understand you.
MEL. I don’t get you.
MASK. Why, I’ll tell my lord I laid this plot with you on purpose to betray you; and that which put me upon it, was the finding it impossible to gain the lady any other way, but in the hopes of her marrying you.
MASK. Why, I'll tell my lord I set this plan up with you on purpose to betray you; and the reason I did it was that I found it impossible to win the lady any other way, except through the hope of her marrying you.
MEL. So.
MEL. Alright.
MASK. So, why so, while you’re busied in making yourself ready, I’ll wheedle her into the coach; and instead of you, borrow my lord’s chaplain, and so run away with her myself.
MASK. So, while you’re getting ready, I’ll charm her into the coach; and instead of you, I’ll take my lord’s chaplain and run away with her myself.
MEL. Oh, I conceive you; you’ll tell him so.
MEL. Oh, I get what you mean; you'll let him know that.
MASK. Tell him so! ay; why, you don’t think I mean to do so?
MASK. Tell him that! Yeah, why, you don't really think I'm planning to do that, do you?
MEL. No, no; ha, ha, I dare swear thou wilt not.
MEL. No, no; ha, ha, I bet you won't.
MASK. Therefore, for our farther security, I would have you disguised like a parson, that if my lord should have curiosity to peep, he may not discover you in the coach, but think the cheat is carried on as he would have it.
MASK. Therefore, for our added security, I want you to dress up like a priest, so if my lord gets curious and looks in, he won’t recognize you in the coach and will think the trick is going on just the way he wants it.
MEL. Excellent Maskwell! Thou wert certainly meant for a statesman or a Jesuit; but thou art too honest for one, and too pious for the other.
MEL. Excellent Maskwell! You were definitely made for a statesman or a Jesuit; but you’re too honest for one and too devout for the other.
MASK. Well, get yourself ready, and meet me in half-an-hour, yonder in my lady’s dressing-room; go by the back stairs, and so we may slip down without being observed. I’ll send the chaplain to you with his robes: I have made him my own, and ordered him to meet us to-morrow morning at St. Albans; there we will sum up this account, to all our satisfactions.
MASK. Well, get ready and meet me in half an hour over in my lady’s dressing room; use the back stairs so we can sneak down without being seen. I’ll send the chaplain to you with his robes: I’ve made them my own and told him to meet us tomorrow morning at St. Albans; there we’ll wrap up this situation to everyone’s satisfaction.
MEL. Should I begin to thank or praise thee, I should waste the little time we have.
MEL. If I start to thank or praise you, I'll waste the little time we have.
SCENE X.
Cynthia, Maskwell.
Cynthia Maskwell.
MASK. Madam, you will be ready?
MASK. Ma'am, are you ready?
CYNT. I will be punctual to the minute. [Going.]
CYNT. I will be on time to the minute. [Going.]
MASK. Stay, I have a doubt. Upon second thoughts, we had better meet in the chaplain’s chamber here, the corner chamber at this end of the gallery, there is a back way into it, so that you need not come through this door, and a pair of private stairs leading down to the stables. It will be more convenient.
MASK. Stay, I have a doubt. Upon thinking it over, we should probably meet in the chaplain’s room here, the corner room at this end of the gallery. There’s a back entrance to it, so you won’t have to come through this door, and a set of private stairs leading down to the stables. It will be more convenient.
CYNT. I am guided by you; but Mellefont will mistake.
CYNT. I'm following your lead; but Mellefont will misunderstand.
MASK. No, no, I’ll after him immediately, and tell him.
MASK. No, no, I’ll go after him right now and let him know.
CYNT. I will not fail.
CYNT. I won't let you down.
SCENE XI.
Maskwell alone.
Maskwell by themselves.
MASK. Why, qui vult decipi decipiatur.—’Tis no fault of mine: I have told ’em in plain terms how easy ’tis for me to cheat ’em, and if they will not hear the serpent’s hiss, they must be stung into experience and future caution. Now to prepare my lord to consent to this. But first I must instruct my little Levite; there is no plot, public or private, that can expect to prosper without one of them has a finger in’t: he promised me to be within at this hour,—Mr. Saygrace, Mr. Saygrace! [Goes to the chamber door and knocks.]
MASK. Why, who wants to be deceived, let them be deceived.—It’s not my fault: I’ve spelled it out for them how easy it is for me to trick them, and if they won’t listen to the warning, they’ll have to learn the hard way. Now I need to get my lord to agree to this. But first, I have to teach my little Levite; no scheme, public or private, can expect to succeed without one of them getting involved: he promised me he would be here at this hour—Mr. Saygrace, Mr. Saygrace! [Goes to the chamber door and knocks.]
SCENE XII.
Maskwell, Saygrace.
Maskwell, Saygrace.
SAYGRACE [looking out.] Sweet sir, I will but pen the last line of an acrostic, and be with you in the twinkling of an ejaculation, in the pronouncing of an Amen, or before you can—
SAYGRACE [looking out.] Sweet sir, I’ll just write the last line of an acrostic, and I’ll be with you in the blink of an eye, in the time it takes to say Amen, or before you can—
MASK. Nay, good Mr. Saygrace, do not prolong the time by describing to me the shortness of your stay; rather if you please, defer the finishing of your wit, and let us talk about our business; it shall be tithes in your way.
MASK. No, good Mr. Saygrace, don't waste time telling me how short your visit is; instead, if you don't mind, hold off on finishing your joke, and let’s get to the point; we can handle the tithes your way.
SAYGRACE. [Enters.] You shall prevail: I would break off in the middle of a sermon to do you a pleasure.
SAYGRACE. [Enters.] You will win: I would stop in the middle of a sermon to do something nice for you.
MASK. You could not do me a greater,—except the business in hand. Have you provided a habit for Mellefont?
MASK. You couldn't do me a bigger favor—except for the task at hand. Have you gotten a costume for Mellefont?
SAYGRACE. I have; they are ready in my chamber, together with a clean starched band and cuffs.
SAYGRACE. I've got them; they're ready in my room, along with a clean starched collar and cuffs.
MASK. Good, let them be carried to him; have you stitched the gown sleeve, that he may be puzzled, and waste time in putting it on?
MASK. Good, have them taken to him; did you stitch the gown sleeve so that he gets confused and takes time putting it on?
SAYGRACE. I have: the gown will not be indued without perplexity.
SAYGRACE. I have: the gown won't be put on without some confusion.
MASK. Meet me in half-an-hour, here in your own chamber. When Cynthia comes, let there be no light, and do not speak, that she may not distinguish you from Mellefont. I’ll urge haste to excuse your silence.
MASK. Meet me in half an hour, here in your own room. When Cynthia arrives, keep the lights off, and don't say anything, so she can’t tell you apart from Mellefont. I’ll hurry things along to explain your silence.
SAYGRACE. You have no more commands?
SAYGRACE. Do you have any more orders?
MASK. None: your text is short.
None: your text is short.
SAYGRACE. But pithy: and I will handle it with discretion.
SAYGRACE. But concise: and I will deal with it thoughtfully.
MASK. It will be the first you have so served.
MASK. It will be the first time you've done this.
SCENE XIII.
Lord Touchwood, Maskwell.
Lord Touchwood, Maskwell.
LORD TOUCH. Sure I was born to be controlled by those I should command. My very slaves will shortly give me rules how I shall govern them.
LORD TOUCH. Sure, I was meant to be ruled by those I'm supposed to lead. My own servants will soon tell me how to manage them.
MASK. I am concerned to see your lordship discomposed.
MASK. I'm worried to see you upset, my lord.
LORD TOUCH. Have you seen my wife lately, or disobliged her?
LORD TOUCH. Have you seen my wife recently, or upset her?
MASK. No, my lord. What can this mean? [Aside.]
MASK. No, my lord. What could this mean? [Aside.]
LORD TOUCH. Then Mellefont has urged somebody to incense her. Something she has heard of you which carries her beyond the bounds of patience.
LORD TOUCH. Then Mellefont has encouraged someone to anger her. Something she has learned about you has pushed her beyond her limits of patience.
MASK. This I feared. [Aside.] Did not your lordship tell her of the honours you designed me?
MASK. I was afraid of this. [Aside.] Didn’t you tell her about the honors you were planning for me?
LORD TOUCH. Yes.
LORD TOUCH. Yeah.
MASK. ’Tis that; you know my lady has a high spirit; she thinks I am unworthy.
MASK. It's that; you know my lady has a strong spirit; she thinks I'm unworthy.
LORD TOUCH. Unworthy! ’Tis an ignorant pride in her to think so. Honesty to me is true nobility. However, ’tis my will it shall be so, and that should be convincing to her as much as reason. By Heaven, I’ll not be wife-ridden; were it possible, it should be done this night.
LORD TOUCH. Unworthy! It's ignorant pride on her part to think that way. Honesty is true nobility to me. However, I want it to be this way, and that should convince her just as much as logic would. By Heaven, I won’t be controlled by a wife; if it were possible, it would be done tonight.
MASK. By Heaven, he meets my wishes! [Aside.] Few things are impossible to willing minds.
MASK. By heaven, he’s meeting my wishes! [Aside.] Few things are impossible for willing minds.
LORD TOUCH. Instruct me how this may be done, you shall see I want no inclination.
LORD TOUCH. Teach me how to do this, and you'll see I have no lack of desire.
MASK. I had laid a small design for to-morrow (as love will be inventing) which I thought to communicate to your lordship. But it may be as well done to-night.
MASK. I had a little plan for tomorrow (as love tends to come up with) that I wanted to share with you. But it might work just as well to do it tonight.
LORD TOUCH. Here’s company. Come this way and tell me.
LORD TOUCH. Here’s someone. Come over here and tell me.
SCENE XIV.
Careless and Cynthia.
Careless and Cynthia.
CARE. Is not that he now gone out with my lord?
CARE. Is he not out with my lord now?
CYNT. Yes.
CYNT. Yeah.
CARE. By heaven, there’s treachery. The confusion that I saw your father in, my Lady Touchwood’s passion, with what imperfectly I overheard between my lord and her, confirm me in my fears. Where’s Mellefont?
CARE. By heaven, there’s betrayal. The chaos I saw your father in, Lady Touchwood’s obsession, and what little I overheard between my lord and her all strengthen my fears. Where’s Mellefont?
CYNT. Here he comes.
CYNT. Here he comes.
SCENE XV.
[To them] Mellefont.
To them Mellefont.
CYNT. Did Maskwell tell you anything of the chaplain’s chamber?
CYNT. Did Maskwell tell you anything about the chaplain’s room?
MEL. No. My dear, will you get ready? The things are all in my chamber; I want nothing but the habit.
MEL. No. My dear, could you please get ready? The things are all in my room; I just need the outfit.
CARE. You are betrayed, and Maskwell is the villain I always thought him.
CARE. You’ve been betrayed, and Maskwell is the villain I always believed he was.
CYNT. When you were gone, he said his mind was changed, and bid me meet him in the chaplain’s room, pretending immediately to follow you and give you notice.
CYNT. When you were gone, he said he had changed his mind and asked me to meet him in the chaplain’s room, pretending that he would follow you right away and let you know.
MEL. How?
MEL. How?
CARE. There’s Saygrace tripping by with a bundle under his arm. He cannot be ignorant that Maskwell means to use his chamber; let’s follow and examine him.
CARE. There’s Saygrace walking by with a bundle under his arm. He can’t be unaware that Maskwell plans to use his room; let’s follow him and check it out.
MEL. ’Tis loss of time; I cannot think him false.
MEL. It’s a waste of time; I can’t believe he’s untrue.
SCENE XVI.
Cynthia, Lord Touchwood.
Cynthia, Lord Touchwood.
CYNT. My lord musing!
CYNT. My lord is thinking!
LORD TOUCH. He has a quick invention, if this were suddenly designed. Yet he says he had prepared my chaplain already.
LORD TOUCH. He’s pretty quick on his feet, if this was planned suddenly. But he claims he already had my chaplain set up.
CYNT. How’s this? Now I fear indeed.
CYNT. How’s this? Now I'm really scared.
LORD TOUCH. Cynthia here! Alone, fair cousin, and melancholy?
LORD TOUCH. Cynthia here! Alone, dear cousin, and feeling down?
CYNT. Your lordship was thoughtful.
CYNT. Your lordship was considerate.
LORD TOUCH. My thoughts were on serious business not worth your hearing.
LORD TOUCH. My thoughts were on serious matters not worth your listening to.
CYNT. Mine were on treachery concerning you, and may be worth your hearing.
CYNT. My thoughts were about the betrayal regarding you, and they might be worth your listening.
LORD TOUCH. Treachery concerning me? Pray be plain. Hark! What noise?
LORD TOUCH. Betrayal against me? Please be direct. Wait! What’s that noise?
MASK. (within) Will you not hear me?
MASK. (within) Will you not listen to me?
LADY TOUCH. (within) No, monster! traitor! No.
LADY TOUCH. (inside) No, monster! You traitor! No.
CYNT. My lady and Maskwell! This may be lucky. My lord, let me entreat you to stand behind this screen and listen: perhaps this chance may give you proof of what you ne’er could have believed from my suspicions.
CYNT. My lady and Maskwell! This could be a stroke of luck. My lord, please let me ask you to stand behind this screen and listen: maybe this opportunity will give you proof of what you could never have believed from my suspicions.
SCENE XVII.
Lady Touchwood with a dagger; Maskwell; Cynthia and Lord Touchwood abscond, listening.
Lady Touchwood with a dagger; Maskwell; Cynthia and Lord Touchwood run away, eavesdropping.
LADY TOUCH. You want but leisure to invent fresh falsehood, and soothe me to a fond belief of all your fictions: but I will stab the lie that’s forming in your heart, and save a sin, in pity to your soul.
LADY TOUCH. You just want some free time to come up with new lies and make me believe all your fantasies: but I will cut through the lie that's brewing in your heart and spare you a sin, out of compassion for your soul.
MASK. Strike then, since you will have it so.
MASK. Strike then, since you want it to be this way.
LADY TOUCH. Ha! A steady villain to the last.
LADY TOUCH. Ha! A consistent villain until the end.
MASK. Come, why do you dally with me thus?
MASK. Come on, why are you wasting time with me like this?
LADY TOUCH. Thy stubborn temper shocks me, and you knew it would; this is cunning all, and not courage. No; I know thee well, but thou shalt miss thy aim.
LADY TOUCH. Your stubborn temper surprises me, and you knew it would; this is all manipulation, not bravery. No; I know you well, but you will miss your goal.
MASK. Ha, ha, ha!
MASK. Haha!
LADY TOUCH. Ha! Do you mock my rage? Then this shall punish your fond, rash contempt. Again smile! [Goes to strike.] And such a smile as speaks in ambiguity! Ten thousand meanings lurk in each corner of that various face.
LADY TOUCH. Ha! Do you laugh at my anger? Then this will be the consequence of your foolish, reckless disrespect. Smile again! [Goes to strike.] And what a smile that holds so many meanings! Countless interpretations hide in every part of that complex face.
Oh! that they were written in thy heart,
Oh! I wish they were written in your heart,
That I, with this, might lay thee open to my sight!
That I, with this, could lay you open to my view!
But then ’twill be too late to know—
But then it will be too late to find out—
Thou hast, thou hast found the only way to turn my rage. Too well thou knowest my jealous soul could never bear uncertainty. Speak, then, and tell me. Yet are you silent. Oh, I am wildered in all passions. But thus my anger melts. [Weeps.] Here, take this poniard, for my very spirits faint, and I want strength to hold it; thou hast disarmed my soul. [Gives the dagger.]
You have, you have found the only way to calm my rage. You know too well that my jealous heart can’t handle uncertainty. Speak, then, and tell me. Yet you are silent. Oh, I am confused by all these feelings. But my anger is fading. [Weeps.] Here, take this dagger, because I feel weak and I can’t hold it; you’ve disarmed my soul. [Gives the dagger.]
LORD TOUCH. Amazement shakes me. Where will this end?
LORD TOUCH. I'm in shock. Where is this going to lead?
MASK. So, ’tis well—let your wild fury have a vent; and when you have temper, tell me.
MASK. So, it's good—let your wild anger out; and when you've calmed down, let me know.
LADY TOUCH. Now, now, now I am calm and can hear you.
LADY TOUCH. Okay, okay, now I'm calm and can listen to you.
MASK. [Aside.] Thanks, my invention; and now I have it for you. First, tell me what urged you to this violence: for your passion broke in such imperfect terms, that yet I am to learn the cause.
MASK. [Aside.] Thanks, my idea; and now I have it for you. First, tell me what drove you to this violence: your anger erupted in such unclear words that I still need to understand the reason.
LADY TOUCH. My lord himself surprised me with the news you were to marry Cynthia, that you had owned our love to him, and his indulgence would assist you to attain your ends.
LADY TOUCH. My lord himself surprised me with the news that you were going to marry Cynthia, that you had confessed our love to him, and his support would help you achieve your goals.
CYNT. How, my lord?
CYNT. How, my lord?
LORD TOUCH. Pray forbear all resentments for a while, and let us hear the rest.
LORD TOUCH. Please set aside any grudges for a moment, and let’s listen to the rest.
MASK. I grant you in appearance all is true; I seemed consenting to my lord—nay, transported with the blessing. But could you think that I, who had been happy in your loved embraces, could e’er be fond of an inferior slavery?
MASK. I admit that on the surface everything looks true; I appeared to agree with my lord—actually overwhelmed by the blessing. But could you believe that I, who had been happy in your beloved embraces, could ever be fond of a lesser form of slavery?
LORD TOUCH. Ha! Oh, poison to my ears! What do I hear?
LORD TOUCH. Ha! Oh, that sounds terrible! What am I hearing?
CYNT. Nay, good my lord, forbear resentment; let us hear it out.
CYNT. No, please my lord, hold back your anger; let us hear it all.
LORD TOUCH. Yes, I will contain, though I could burst.
LORD TOUCH. Yes, I’ll hold it together, even though I feel like I might explode.
MASK. I, that had wantoned in the rich circle of your world of love, could be confined within the puny province of a girl? No. Yet though I dote on each last favour more than all the rest, though I would give a limb for every look you cheaply throw away on any other object of your love: yet so far I prize your pleasures o’er my own, that all this seeming plot that I have laid has been to gratify your taste and cheat the world, to prove a faithful rogue to you.
MASK. I, who have reveled in the lavish circle of your love, could be limited to the small world of a girl? No. Yet, even though I cherish every little favor more than everything else, and I would sacrifice so much for every glance you casually give to someone else you love: still, I value your joys more than my own, and all this plan I’ve put together has been to please you and deceive the world, to show myself as a loyal trickster for you.
LADY TOUCH. If this were true. But how can it be?
LADY TOUCH. If this were true. But how could it be?
MASK. I have so contrived that Mellefont will presently, in the chaplain’s habit, wait for Cynthia in your dressing-room; but I have put the change upon her, that she may be other where employed. Do you procure her night-gown, and with your hoods tied over your face, meet him in her stead. You may go privately by the back stairs, and, unperceived, there you may propose to reinstate him in his uncle’s favour, if he’ll comply with your desires—his case is desperate, and I believe he’ll yield to any conditions. If not here, take this; you may employ it better than in the heart of one who is nothing when not yours. [Gives the dagger.]
MASK. I’ve arranged for Mellefont to be waiting for Cynthia in your dressing room, dressed as the chaplain. I’ve told her to be somewhere else so she won’t be there. Get her nightgown, and with your hoods pulled over your face, meet him instead. You can go quietly through the back stairs, and without being seen, you can suggest that you’ll help him get back in his uncle’s good graces if he agrees to what you want—his situation is desperate, and I think he’ll accept any terms. If not here, take this; you can use it better than someone who is nothing without you. [Gives the dagger.]
LADY TOUCH. Thou can’st deceive everybody. Nay, thou hast deceived me; but ’tis as I would wish. Trusty villain! I could worship thee.
LADY TOUCH. You can’t fool everyone. No, you’ve fooled me; but that’s how I want it. Faithful scoundrel! I could admire you.
MASK. No more; it wants but a few minutes of the time; and Mellefont’s love will carry him there before his hour.
MASK. No more; it just needs a few more minutes; and Mellefont’s love will get him there before his time.
LADY TOUCH. I go, I fly, incomparable Maskwell!
LADY TOUCH. I’m off, I’m flying, unmatched Maskwell!
SCENE XVIII.
Maskwell, Cynthia, Lord Touchwood.
Maskwell, Cynthia, Lord Touchwood.
MASK. So, this was a pinch indeed, my invention was upon the rack, and made discovery of her last plot. I hope Cynthia and my chaplain will be ready; I’ll prepare for the expedition.
MASK. So, this is a tight spot, my invention is on the line, and it revealed its final scheme. I hope Cynthia and my chaplain will be ready; I’ll get ready for the mission.
SCENE XIX.
Cynthia and Lord Touchwood.
Cynthia and Lord Touchwood.
CYNT. Now, my lord?
CYNT. Now, sir?
LORD TOUCH. Astonishment binds up my rage! Villainy upon villainy! Heavens, what a long track of dark deceit has this discovered! I am confounded when I look back, and want a clue to guide me through the various mazes of unheard-of treachery. My wife! Damnation! My hell!
LORD TOUCH. Astonishment ties up my anger! Wrongdoing upon wrongdoing! Oh my, what a long path of dark deceit has this revealed! I'm baffled when I look back and need a guide to help me navigate the twists and turns of this unprecedented betrayal. My wife! Damnation! My hell!
CYNT. My lord, have patience, and be sensible how great our happiness is, that this discovery was not made too late.
CYNT. My lord, please be patient and recognize how fortunate we are that this discovery wasn't made too late.
LORD TOUCH. I thank you, yet it may be still too late, if we don’t presently prevent the execution of their plots;—ha, I’ll do’t. Where’s Mellefont, my poor injured nephew? How shall I make him ample satisfaction?
LORD TOUCH. I appreciate it, but it might still be too late if we don't stop their plans right now;—ha, I'll do it. Where's Mellefont, my poor wronged nephew? How can I make it up to him?
CYNT. I dare answer for him.
CYNT. I dare to speak on his behalf.
LORD TOUCH. I do him fresh wrong to question his forgiveness; for I know him to be all goodness. Yet my wife! Damn her:—she’ll think to meet him in that dressing-room. Was’t not so? And Maskwell will expect you in the chaplain’s chamber. For once, I’ll add my plot too:—let us haste to find out, and inform my nephew; and do you, quickly as you can, bring all the company into this gallery. I’ll expose the strumpet, and the villain.
LORD TOUCH. I unfairly doubt his forgiveness because I know he’s nothing but good. But my wife! Damn her—she thinks she can meet him in that dressing room. Wasn’t it like that? And Maskwell will be waiting for you in the chaplain’s room. Just this once, I’ll join in on the scheme: let’s hurry to find out and let my nephew know; and you, as fast as you can, gather everyone in this gallery. I’ll expose the deceitful woman and the scoundrel.
SCENE XX.
Lord Froth and Sir Paul.
Lord Froth and Sir Paul.
LORD FROTH. By heavens, I have slept an age. Sir Paul, what o’clock is’t? Past eight, on my conscience; my lady’s is the most inviting couch, and a slumber there is the prettiest amusement! But where’s all the company?
LORD FROTH. By God, I’ve slept forever. Sir Paul, what time is it? Past eight, I swear; my lady's couch is the most tempting place to sleep, and napping there is the best fun! But where is everyone?
SIR PAUL. The company, gads-bud, I don’t know, my lord, but here’s the strangest revolution, all turned topsy turvy; as I hope for providence.
SIR PAUL. The company, gosh, I don't know, my lord, but this is the strangest turn of events, completely turned upside down; as I hope for good fortune.
LORD FROTH. O heavens, what’s the matter? Where’s my wife?
LORD FROTH. Oh my gosh, what’s going on? Where’s my wife?
SIR PAUL. All turned topsy turvy as sure as a gun.
SIR PAUL. Everything's upside down, that's for sure.
LORD FROTH. How do you mean? My wife?
LORD FROTH. What do you mean? My wife?
SIR PAUL. The strangest posture of affairs!
SIR PAUL. The weirdest situation ever!
LORD FROTH. What, my wife?
What, my wife?
SIR PAUL. No, no, I mean the family. Your lady’s affairs may be in a very good posture; I saw her go into the garden with Mr. Brisk.
SIR PAUL. No, no, I’m talking about the family. Your lady’s situation might be just fine; I saw her head into the garden with Mr. Brisk.
LORD FROTH. How? Where, when, what to do?
LORD FROTH. How? Where? When? What should we do?
SIR PAUL. I suppose they have been laying their heads together.
SIR PAUL. I guess they've been putting their heads together.
LORD FROTH. How?
LORD FROTH. What?
SIR PAUL. Nay, only about poetry, I suppose, my lord; making couplets.
SIR PAUL. No, just about poetry, I guess, my lord; creating couplets.
LORD FROTH. Couplets.
LORD FROTH. Rhymes.
SIR PAUL. Oh, here they come.
SIR PAUL. Oh, they’re here.
SCENE XXI.
[To them] Lady Froth, Brisk.
[To them] Lady Froth, Brisk.
BRISK. My lord, your humble servant; Sir Paul, yours,—the finest night!
BRISK. My lord, your humble servant; Sir Paul, yours,—what a wonderful night!
LADY FROTH. My dear, Mr. Brisk and I have been star-gazing, I don’t know how long.
LADY FROTH. My dear, Mr. Brisk and I have been stargazing for I don’t know how long.
SIR PAUL. Does it not tire your ladyship? Are not you weary with looking up?
SIR PAUL. Doesn't that wear you out, my lady? Aren't you tired from looking up?
LADY FROTH. Oh, no, I love it violently. My dear, you’re melancholy.
LADY FROTH. Oh, no, I love it intensely. My dear, you seem down.
LORD FROTH. No, my dear; I’m but just awake.
LORD FROTH. No, my dear; I’ve just woken up.
LADY FROTH. Snuff some of my spirit of hartshorn.
LADY FROTH. Sniff some of my essence of hartshorn.
LORD FROTH. I’ve some of my own, thank you, dear.
LORD FROTH. I have some of my own, thank you, dear.
LADY FROTH. Well, I swear, Mr. Brisk, you understood astronomy like an old Egyptian.
LADY FROTH. Well, I swear, Mr. Brisk, you understood astronomy like an ancient Egyptian.
BRISK. Not comparably to your ladyship; you are the very Cynthia of the skies, and queen of stars.
BRISK. Not like you, my lady; you are the very Cynthia of the heavens, and the queen of stars.
LADY FROTH. That’s because I have no light but what’s by reflection from you, who are the sun.
LADY FROTH. That's because I have no light except for the reflection from you, who are the sun.
BRISK. Madam, you have eclipsed me quite, let me perish. I can’t answer that.
BRISK. Madam, you’ve completely outshined me; I’m at a loss. I can't respond to that.
LADY FROTH. No matter. Hark ’ee, shall you and I make an almanac together?
LADY FROTH. No problem. Hey, do you want to make a calendar together?
BRISK. With all my soul. Your ladyship has made me the man in’t already, I’m so full of the wounds which you have given.
BRISK. With all my heart. Your ladyship has already made me the man I am, as I'm so overwhelmed by the wounds you've given me.
LADY FROTH. O finely taken! I swear now you are even with me. O Parnassus, you have an infinite deal of wit.
LADY FROTH. Oh, well played! I swear you're even with me now. Oh Parnassus, you have so much wit.
SIR PAUL. So he has, gads-bud, and so has your ladyship.
SIR PAUL. So he has, goodness gracious, and so has your ladyship.
SCENE XXII.
[To them] Lady Plyant, Careless, Cynthia.
To them: Lady Plyant, Careless, Cynthia.
LADY PLYANT. You tell me most surprising things; bless me, who would ever trust a man? Oh my heart aches for fear they should be all deceitful alike.
LADY PLYANT. You tell me the most surprising things; goodness, who would ever trust a man? Oh, my heart aches for fear they might all be deceitful in the same way.
CARE. You need not fear, madam, you have charms to fix inconstancy itself.
CARE. You don't have to worry, ma'am, you have the charms to fix even the most unreliable heart.
LADY PLYANT. O dear, you make me blush.
LADY PLYANT. Oh my, you’re making me blush.
LORD FROTH. Come, my dear, shall we take leave of my lord and lady?
LORD FROTH. Come on, my dear, should we say goodbye to my lord and lady?
CYNT. They’ll wait upon your lordship presently.
CYNT. They’ll be here to serve you shortly.
LADY FROTH. Mr. Brisk, my coach shall set you down.
LADY FROTH. Mr. Brisk, my car will drop you off.
ALL. What’s the matter? [A great shriek from the corner of the stage.]
ALL. What's going on? [A loud scream from the corner of the stage.]
SCENE XXIII.
[To them] Lady Touchwood runs out affrighted, my lord after her, like a parson.
[To them] Lady Touchwood runs out scared, my lord chasing after her, like a priest.
LADY TOUCH. Oh, I’m betrayed. Save me, help me!
LADY TOUCH. Oh, I've been betrayed. Please, help me!
LORD TOUCH. Now what evasion, strumpet?
LORD TOUCH. Now what excuse, you flirt?
LADY TOUCH. Stand off, let me go.
LADY TOUCH. Step aside, let me through.
LORD TOUCH. Go, and thy own infamy pursue thee. You stare as you were all amazed,—I don’t wonder at it,—but too soon you’ll know mine, and that woman’s shame.
LORD TOUCH. Go, and let your own disgrace follow you. You look shocked, just as I expected—you’ll soon learn about my shame and that woman’s too.
SCENE the last.
Lord Touchwood, Lord Froth, Lady Froth, Lady Plyant, Sir Paul, Cynthia, Mellefont, Maskwell, Mellefont disguised in a parson’s habit and pulling in Maskwell.
Lord Touchwood, Lord Froth, Lady Froth, Lady Plyant, Sir Paul McCartney, Cynthia, Mellefont, Maskwell, Mellefont dressed as a priest and pulling in Maskwell.
MEL. Nay, by heaven you shall be seen. Careless, your hand. Do you hold down your head? Yes, I am your chaplain, look in the face of your injured friend; thou wonder of all falsehood.
MEL. No, by heaven, you will be seen. Be careless, your hand. Are you looking down? Yes, I am your chaplain; look your injured friend in the face; you marvel of all lies.
LORD TOUCH. Are you silent, monster?
LORD TOUCH. Are you quiet, monster?
MEL. Good heavens! How I believed and loved this man! Take him hence, for he’s a disease to my sight.
MEL. Good heavens! How I trusted and loved this man! Take him away, because he’s a blight on my vision.
LORD TOUCH. Secure that manifold villain. [Servants seize him.]
LORD TOUCH. Get that multiple-faced villain. [Servants grab him.]
CARE. Miracle of ingratitude!
CARE. Miracle of ungratefulness!
BRISK. This is all very surprising, let me perish.
BRISK. This is all very surprising, I can’t believe it.
LADY FROTH. You know I told you Saturn looked a little more angry than usual.
LADY FROTH. You know I mentioned that Saturn seemed a bit angrier than normal.
LORD TOUCH. We’ll think of punishment at leisure, but let me hasten to do justice in rewarding virtue and wronged innocence. Nephew, I hope I have your pardon, and Cynthia’s.
LORD TOUCH. We'll think about punishment later, but let me quickly make it right by rewarding virtue and the wronged innocent. Nephew, I hope I have your forgiveness, and Cynthia's.
MEL. We are your lordship’s creatures.
MEL. We are your lordship's subjects.
LORD TOUCH. And be each other’s comfort. Let me join your hands. Unwearied nights, and wishing days attend you both; mutual love, lasting health, and circling joys, tread round each happy year of your long lives.
LORD TOUCH. And be there for each other. Let me join your hands. Tireless nights and hopeful days surround you both; may mutual love, lasting health, and endless joys fill each happy year of your long lives.
Let secret villany from hence be warned;
Howe’er in private mischiefs are conceived,
Torture and shame attend their open birth;
Like vipers in the womb, base treachery lies,
Still gnawing that, whence first it did arise;
No sooner born, but the vile parent dies.Let hidden evil be put on alert from now on;
No matter how secretive the schemes might be,
Pain and disgrace come after they are exposed;
Like snakes in the belly, betrayal waits,
Always feeding on what gave it life;
As soon as it is born, the miserable creator perishes.
[Exeunt Omnes.]
[Everyone exits.]
EPILOGUE
Spoken by Ms. Mountford.
Could poets but foresee how plays would take,
Then they could tell what epilogues to make;
Whether to thank or blame their audience most.
But that late knowledge does much hazard cost:
Till dice are thrown, there’s nothing won, nor lost.
So, till the thief has stolen, he cannot know
Whether he shall escape the law, or no.
But poets run much greater hazards far
Than they who stand their trials at the bar.
The law provides a curb for it’s own fury,
And suffers judges to direct the jury:
But in this court, what difference does appear!
For every one’s both judge and jury here;
Nay, and what’s worse, an executioner.
All have a right and title to some part,
Each choosing that in which he has most art.
The dreadful men of learning all confound,
Unless the fable’s good, and moral sound.
The vizor-masks, that are in pit and gallery,
Approve, or damn, the repartee and raillery.
The lady critics, who are better read,
Inquire if characters are nicely bred;
If the soft things are penned and spoke with grace;
They judge of action too, and time, and place;
In which we do not doubt but they’re discerning,
For that’s a kind of assignation learning.
Beaus judge of dress; the witlings judge of songs;
The cuckoldom, of ancient right, to cits belongs.
Thus poor poets the favour are denied
Even to make exceptions, when they’re tried.
’Tis hard that they must every one admit:
Methinks I see some faces in the pit
Which must of consequence be foes to wit.
You who can judge, to sentence may proceed;
But though he cannot write, let him be freed
At least from their contempt who cannot read.
If poets could see how plays would go,
Then they could know what endings to create;
Whether to thank or blame their audience more.
But that late knowledge comes with a big cost:
Until the dice are cast, nothing's gained or lost.
So, until the thief steals, he can't know
Whether he'll escape the law or not.
But poets take much greater risks than those
Who stand their trials in the courtroom.
The law puts a limit on its own wrath,
And allows judges to guide the jury:
But in this court, what difference is there!
For everyone’s both judge and jury here;
What's worse, they're also the executioner.
Everyone has a right to play a part,
Each choosing what they do best.
The dreaded scholars all get mixed up,
Unless the story’s good and the morals sound.
The masked spectators in the pit and gallery,
Either praise or condemn the jokes and banter.
The lady critics, who read more than others,
Ask if characters are well-bred;
If the gentle lines are written and spoken with grace;
They judge the action, timing, and place;
In this, we believe they're perceptive,
For that's a kind of insider knowledge.
Stylish people judge fashion; the clever ones judge songs;
The cuckolds claim the old rights to the citizens.
Thus, poor poets are denied favor
Even to make exceptions when they’re judged.
It’s hard that they must let everyone in:
I think I see some faces in the pit
That must, by nature, dislike wit.
You who can judge, feel free to pass sentence;
But even if he can't write, let him be free
At least from the scorn of those who can't read.
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