The Measures and Revels follow. 2 Priest. How near to good is what is fair! But with the lines, and outward air We wish to see it still, and prove, We court, we praise, we more than love: The last Masque-Dance. And after it, this full SONG. What just excuse had aged Time, His weary limbs now to have eased, And sate him down without his crime, While every thought was so much pleased! But he so greedy to devour His own, and all that he brings forth, Is eating every piece of hour Some object of the rarest worth. Yet this is rescued from his rage, As not to die by time, or age: For beauty hath a living name, And will to heaven, from whence it came. Grand Chorus at going out. Now, now, gentle Love is free, and Beauty blest With the sight it so much long'd to see. Let us the Muses' priests, and Graces go to rest, Then, then, * * * music sound,* and teach our feet, How to move in time, and measure meet: Thus should the Muses' priests, and Graces go to rest Bowing to the sun, throned in the west. ▲ Then, then, angry music sound.] This epithet is not very commonly applied to music: the poet seems to have used it instead of loud. WHAL. It is unquestionably a misprint, (which I am unable to set right,) and is one of the very few errors in this excellent old copy. LOVE RESTORED.] From the folio, 1616. This is a sprightly little piece, and Robin Goodfellow's account of the petty tricks used by the inferior orders to procure a sight of these exhibitions, and the conduct of the menial officers of the court, is as interesting as it is amusing, from its being a lively picture of real occurrences. We learn from many of our old dramas, that considerable bustle and confusion took place at Whitehall, whenever a Masque was presented, and that previously to the entrance of the court, the doors were in a manner besieged by crowds of citizens and others clamorously advancing their respective pretensions to the honour of admission. It is said by the Puritans, and probably with some approach to truth, that the galleries were used, on these occasions, as places of assignation, and that the citizens' wives were invited to the Masques, &c., by the younger courtiers for the purposes of gallantry. "There is not a lobby nor chamber, if it could speak, (says sir Edward Peyton,) but would verify this." This was, however, after the queen's death, and when the decorum of the court was less strictly maintained. LOVE RESTORED. The King and Court being seated, and in expectation, Enter MASQUERADO. WOULD I could make them a show myself! In troth, ladies, I pity you all. You are in expectation of a device to-night, and I am afraid you can do little else but expect it. Though I dare not shew my face, I can speak truth under a vizard. Good faith, an't please your majesty, your Masquers are all at a stand; I cannot think your majesty will see any show to-night, at least worth your patience. Some two hours since, we were in that forwardness, our dances learned, our masquing attire on and attired. A pretty fine speech was taken up of the poet too, which if he never be paid for now, it's no matter; his wit costs him nothing. Unless we should come in like a morrice-dance, and whistle our ballad ourselves, I know not what we should do: we have neither musician to play our tunes, but the wild music here; and the rogue play-boy, that acts Cupid, is got so hoarse, your majesty cannot hear him half the breadth of your chair. Enter PLUTUS, as CUPID. See, they have thrust him out, at adventure. We humbly beseech your majesty to bear with us. We |