A Textual Study of Robert Greene's Orlando Furioso with an Elizabethan Text

Home , Angelica (character), Oliver (paladin), Orlando (horse)

Tetsumaro Hayashi

BALL STATE MONOGRAPH NUMBER TWENTY-ONE t,

A Textual Study of Robert Greene's Orlando Furioso with an Elizabethan Text

Tetsumaro Hayashi Associate Professor of English Ball State University

A SAE MOOGA UME WEYOE bltn n Enlh, . ll Stt Unvrt, Mn, Indn 406 This publication is not for sale.

Contents

vi Special Acknowledgments vii Preface 1 Chapter 1. Literary Introduction 1 A. Authorship 2 B. Performance Records 3 C. Date of Composition 4 D. Sources 5 E. Type of Play 12 Chapter II. Bibliographical Introduction 12 A. Bibliographical Description of A (Q1,1594) and B (Q2,1599) 13 B. Bibliographical Description of AM (the Alleyn Manuscript) 15 C. Modern Editions 15 1. 19th Century Editions: Dyce 1 and 2 and Grosart 15 2. 20th Century Editions: Collins, Greg, and Dickinson 15 D. Treatment of the Text 18 Chapter III. The Text of Orlando Furioso 18 A. Dramatis Personae 19 B. Text 61 C. The Alleyn Manuscript 75 D. Explanatory Notes 92 Appendix: Key to Abbreviations Special Acknowledgments

The Executors of the late Sir Walter Greg, Mr. Michael Pearson of Janson, Cobb, Pearson and Co. (22 College Hill, London, E.C. 4, England), Mr. William Armstrong of Sidgwick and Jackson, Ltd. (Bloomsbury Way, London, WC 1A 25G, England), and the late Professor Greg's publisher graciously granted me permissions to quote the distinguished scholar's transcribed Alleyn Manuscript, with a few revisions, in this monograph. Mr. Roy S. Simmonds, a cherished friend of mine in England, was kind enough to introduce me to these generous people. Dr. Louis Marder, the second reader of this monograph, meticulously read the manuscript and gave me construc- tive criticism. Dr. David George of the Folger Shakespeare Library read the manuscript in its first stage and advised me on the overall structure. Dr. Casey Tucker, Chairman of the Faculty Publications Committee at Ball State University, and his associates on the committee, notably Dr. Daryl Adrian and Professor Donald Siefker, among other members, believed in the value of this monograph and accepted my manuscript for publication. To these scholars, friends, specialist readers, and the Ball State University Faculty Publications Committee I owe my profound gratitude.

vi Preface

This textual study of Robert Greene's Orlando Furioso is intended to make available an objective and readable Elizabethan text of one of Robert Greene's controversial comedies; this should clarify those aspects of his vocabulary most troublesome for contemporary students of Elizabethan drama and explain Greene's quotations and classical allusions. Thus my primary objective is to establish a concise and authentic text so designed as to elimi- nate those textual difficulties which cloud Greene's genius in the eyes of a critical modern world. To this end, necessary explanatory notes follow the text. It is not my wish here to cross swords with my predecessors, some of whom have regrettably chosen to engage in critical warfare at Robert Greene's expense; rather, I hope to indicate a community of venture in which no one person has the sole grasp of esthetic truth. While I sometimes disagree with my predecessors, I freely acknowledge a general debt to them, in particular to Alexander Dyce, Alexander B. Grosart, J. Churton Collins, W. W. Greg, and Thomas H. Dickinson, whose editions I profitably consulted once my own collation of A (Q1, 1594) and B (Q2, 1599), and my examination of AM (the Alleyn Manuscript) were completed. Taken together, our separate editions—each making its own unique contribution—provide a fuller picture of the text. The distinctive features of this study, I feel, are the following: (1) an objective treatment of explanatory notes; (2) readable and concise defini- tions and explanations of all difficult, controversial, misleading, or archaic words and spellings; (3) the inclusion of the Alleyn Manuscript itself, with an indication of words or lines either substantially different from the quartos or missing altogether; (4) English translations of both Greene's Italian quotation from Ariosto (11. 732-739) and the Latin "quotation" (11. 1275-1284), which are not included in previous editions; (5) an extensive list of explained classical and geographical references; (6) and, finally, the more extensive inclusion of italicized stage directions, settings, and a list of characters for easy isolation and analysis. My introduction includes a brief statement of the essential nature of the play, detailed descriptions and analyses of the quartos, and the Alleyn Manuscript, and a list of modern editions, and a statement of governing textual principles. vii During the preparation of this manuscript, I accumulated many debts. Dr. Richard W. Burkhardt, Vice President for Instructional Affairs of Ball State University, Dr. Charles Smith, Jr., Director of the Office of Research, and Dr. David Costill, Chairman of the University Research Committee, were instrumental in awarding me a 1971 Summer Research Grant. This grant allowed me, during June and July of 1971, to work at the Folger Shakespeare Library in Washington, D.C.; the Folger staff and administrators extended to me the most cordial assistance. Dr. 0. B. Hardison, Jr., Director of the Folger Shakespeare Library, Dr. Richard J. Schoeck, Director of Research Activities, Dr. James G. McManaway, former Editor of the Shake- speare Quarterly, and their colleagues, all graciously assisted me in the project. Without their assistance, I could not have completed the major portion of my project in so short a time. Dr. Dick A. Renner, Chairman of the English Department at Ball State University, initially endorsed this project in 1970 and encouraged me to complete it. Dr. Robert Lordi, Professor of English at the University of Notre Dame, and Dr. Virginia Woods Callahan, Pro- fessor of Classics at Howard University, verified and translated the Latin "quotations." Dr. Bruce Hozcski, my colleague at Ball State University, translated several Latin phrases and proverbs in the text. Professor Johnstone Parr, Robert Greene specialist and textual scholar at Kent State University, meticulously advised me on this project after it was submitted to the Ball State University Faculty Publications Committee. Dr. Reloy Garcia, a gifted scholar at Creighton University, proofread the manuscript and advised me especially on the literary and bibliographical introductions. Dr. Richard W. Burkhardt, Vice President for Instructional Affairs of Ball State University, awarded me the special typing grant that enabled me to hire a very competent typist, Miss Monica Hilton. Mrs. Zilpha Danner, Secretary of the English Department, assisted me in securing the dependable typist. Miss Joanne Reed, my secretary, typed the introduction when it was in the second draft stage. And last but most important, I should like to publicly acknowledge my wife, Akiko, whose patient understanding in a time of extreme duress provided the moral sustenance, without which scholarship is but a lonely, empty, intellectual exercise. To these scholars, editors, librarians, administrators, and friends, I express my profound gratitude. Tetsumaro Hayashi

viii Chapter I

Literary Introduction

A. Authorship

The authorship of Orlando Furioso might be inferred from Robert Greene's own facetious reference to himself and the play on words in The Defence of Conny-Catching (published in 1592, Stationers' Register, April 21, 1592), in which the writer (narrator) accuses Greene of first selling the manuscript to the Queen's Men for twenty nobles and then of selling it once again to the Admiral's Men when they came to the city later:

But now Sir by your leaue a little, what if I should proue you a Conny- catcher Maister R. G. Would it not make you blush at the matter? Ile go as neare to it as the Fryer did to his Hostesse mayde, when the Clarke of the parish took him at Leuatent at midnight. Aske the Queens Players, if you sold them not Orlando Furioso for twenty Nobles, and when they were in the country, sold the same Play to the Lord Admirals men for as much more. Was not this plaine Conny-catching Maister R. G.? 1

Since the title pages of the two extant quartos of Orlando Furioso do not bear the author's name, and since the Stationers' Register entry of December 7, 1592, makes no mention of Greene, 2 this statement is the only known printed evidence of Greene's authorship. Furthermore, we can deduce from the same statement that the Queen's Men were the original owners, and as the fortunes of the Queen's Men began to languish in 1588 when Tarleton died and Wilson left them, Alleyn bought the play from the Queen's Men. 3 Lastly, the Dulwich Manuscript, hereafter called the Alleyn Manuscript or simply AM, which is Alleyn's (Orlando's) speaking part, and which ap- proaches the play's original form far more closely than either A or B, contains corrections and insertions in Alleyn's own hand, a fact which further attests to the historical richness and literary significance of the reference in The Defence of Conny-Catching. 4

1 Grosart (ed.), XI, 75-76. 2 Arber (ed.), II, 641 and 650. °G. B. Harrison (ed.), An Elizabethan Journal (1591-1594). 3 vols. (London: Constable, 1928), I, 257. 'W. W. Greg (ed.), Henslowe's Diary (London: A. H. Bullet:, 1908), II, 150. 1 B. Performance Records

In his Diary, Philip Henslowe records the performance of Orlando Furioso at the Rose theater by Lord Strange's Men, an "old play" which presumably was the occasion during which Alleyn's role as Orlando was performed: "Rd at orlando, the 21 of febreay 1591/1592 . . . xvjs vjd." 5 But, Henslowe's record of a mere sixteen shillings and six pence receipts for the evening suggests that the play was a financial failure; the Diary contains no record of a subsequent performance. The second record of a performance is to be found on the title-pages of A (1594) and B (1599) which state: "as it was plaid before the Queenes Maiestie." The Queen's players, by whom Greene was employed, acted before the court ten times between July 30, 1588 (the date of the invasion of the Spanish Armada), and December 28, 1591. December 26, 1588, which seems to be the only date within the year following the defeat of the Spanish Armada, may well be the performance date of the Queen's Men referred to in the title-page of the two quartos, A (1594) and B ( 1599) .6 Yet, W. 'W. Greg claims otherwise, suggesting the Christmas festivities of 1591-1592 at Court, during which time the Queen's company gave a single performance, while the Lord Strange's Men performed six times. Greg bases his theory on the debatable assumption that a royal performance would not follow the unsuccessful public performance of 1592, and that more probably the performance at the Rose theater was encouraged by the court performance. He believes that if the Queen's Men first acquired the manuscript in the fall of 1591, it remained in their possession until they left London, possibly early the following year. Consequently, he contends that the Queen's Men gave the court performance. This elaborate argument, however, trails after an initial premise of questionable validity, given that a play unsuccessful in a public theater might very easily gain acceptance before a more sophisti- cated court audience. Thus, although we can assume with certainty that the play was performed sometime between December 26, 1588, and sometime in 1591, we cannot fix the date with absolute certainty. Unsuccessful as the performance at the Rose in February 1592 may have been, I wish to stress the often neglected fact that the play was popular enough to have been printed twice in quartos, and that by 1592 the play probably was a modest

Henslowe from 1591 to 1609 (London: Shake- 5 J. Payne Collier (ed.), The Diary of Philip speare Society, 1845), p. 21; W. W. Greg (ed.), Henslowe's Diary, II, 150; Greg, Two Eliza- bethan Abridgements (Oxford: Malone Society Extra Volume, 922), p. 128. John Clark Jordan, Robert Greene [New York: Octagon Press, 1915 (1965)1, p. 180; E. K. Chambers, The Elizabethan Stage (Oxford: Clarendon Press, 1923), IV, 103-106. 2 hit, as Henslowe indicates "an old play" and consequently drew a small audience.7

C. Date of Composition

There are several textual and external references that indicate probable dates of composition; yet, none of these references and allusions helps us pin- point the specific date of composition. Among these several textual references, two seem particularly significant in my opinion. The first is the defeat of the Spanish Armada. The play could not possibly have been written before July 30, 1588, if we accept Greene's seemingly convincing allusion to the defeat of the Spanish Armada as historical. And Spaniard tell, who mand with mighty Fleetes, Came to subdue my Ilands to their King, Filling our seas with stately Argosies, Caluars and Magars hulkes of burden great, Which Brandemart rebated from his coast. (11.91-95) Editors commonly agree that this is a reasonably obvious reference to July 30, 1588, the earliest date of composition. In the play, furthermore, there are four lines which are also found in George Peele's Old Wives Tale (1591) Northeast as far as is the frosen Rhene, Leauing faire Voya crost vp Danuby, As hie as Saba whose inhaunsing streames, Cut twixt the Tartares and the Russians. ( Greene, 11. 73-76) Compare this with Peele's lines: For thy sweet sake I haue cross'd the frosen Rhine, Leaning faire Po, I sail'd vp Danuby As nigh as Saba whose enhauncing streams Cut twixt the Tartars are the Russians.

( A. H. Bullen, ed., Peele, 11. 885-888) . 8 This, however, does not necessarily suggest a composition date of 1590 because it is just as possible that Peele copied from Greene as it is that Greene did from Peele. W. W. Greg contends that Peele undoubtedly copied

7 Greg ( ed.) , Two Elizabethan Abridgements, p. 129. 8 The italics are mine. 3 from Greene because of the name Sacripant (Sacrapant in Peele), which is common in the two plays and which Greene took from Ariosto. Yet, this does not convince me of the 1590 date, since Peele might easily have taken it directly from Ariosto first or simultaneously without having had to borrow it from Greene.° From among the several external references my predecessors have used to determine the date of composition, I should like to use only three pertinent ones. Sir John Harington translated Ariosto's Orlando Furioso in 1591 (S.R., February 26, 1590/1591 and published on August 1, 1591), an entry which is regarded as one piece of evidence for Greene's borrowing from the translation around 1591. However, Greene's quotation—with a slight varia- tion—is in the original Italian (11.732-739), which is taken directly from Canto XXVII, Stanzas 117 and 121. In the first line of Greene's quotation, egli dicea ("he says") is changed into de tutti mall sede ("the seat of all evil"). I doubt very much if Greene used the English translation. If so, why should he quote it in Italian? He seems to have been well enough versed in the original to modify the Italian passage on his own. The second bit of external evidence is the performance record kept by Philip Henslowe. His Diary states that it was performed by the Strange's Men as an old play on February 21, 1591/92 (actually 1592). The play was entered in the Stationers' Register on December 7, 1593, and printed in 1594 as played before the Queen. Therefore, the latest date of composition, according to the Diary, must be sometime before February 21, 1592. The third piece of external evidence is the reference made in The Defence of Conny-Catching (SR., April 21, 1592), which does not narrow the date down, but which seems to indicate that the play was resold early in 1592, and that it had belonged to the Queen's company until December 26, 1591. Therefore this reference, if authentic, helps us narrow down the date of composition even further to sometime before December 26, 1591. 10 Therefore, my own conclusion is that the play was probably written sometime between 1588 and 1591. J. C. Collins seems to accept 1591 as the date of composition; Frederick G. Fleay, A. W. Ward, and Charles Mills Gayley prefer 1588-1589 while W. W. Greg advocates 1590." Although none of these—including my own conjecture—has an absolutely convincing answer to the puzzling question of the play's composition date, their arguments reveal its literary background, its climate, and the historical events that affected Greene, directly or indirectly.

9 Greg (ed.), Henslowe's Diary, II, 150. la Jordan, P. 179. n Edmund K. Chambers, The Elizabethan Stage. 4 vols. [Oxford: Clarendon Press, 1923 (1961)1, III, 329-330. 4 D. Sources

The primary source of Greene's Orlando Furioso is Lodovico Ariosto's epic, Orlando Furioso (1516 and 1532), from which the plot and the characters are undoubtedly borrowed. Greene freely adapts both the situation of the story and the details of the epic. The Orlando-Angelica plot, which Greene dramatizes in his play, for example, happens to be a minor one of the three major plots of the epic. It is possible, therefore, that Greene only eclectically uses Ariosto's work, turning the interesting part of the epic into a drama. How eclectic the playwright is in using Ariosto's poem has long been argued since Dyce, who edited the first modern edition of the play in 1831. In any case, Greene seems to reveal rather intimate knowledge of at least certain portions of Ariosto's Orlando Furioso as the most important source of his play. Greene's dependence upon Ariosto has been partially pointed out initially by Dyce, then Collins, Greg, and Dickinson. They unmistakably identified Greene's eight Italian lines, which were taken directly from Canto XVII, Stanzas 117 and 121 of Ariosto's Orlando Furioso, with a very slight vari- ation in the first line." An even more extensive use of Ariosto's poem was argued by Charles W. Lemmi in 1916 and then by Morris Robert Morrison in 1934. First, Charles W. Lemmi went as far as to say that practically every situation in Greene's Orlando Furioso had its analogue in Ariosto's epic. In the play, for instance, Angelica brings war upon her lenient and protective father by choosing from "an embassy of suitors" the least distinguished one. Orlando, the successful suitor, promptly appears before the castle of one of them; after a while he storms the palace, and without pausing to take part in the massacre of the garrison, he pursues his rival to the death, dealing similarly with other competitors later. Lemmi compares it with the poem (Canto IX) in which the princess Olympia likewise brings war upon an equally lenient and protective father by maintaining her faith in the young Duke of Zealand, despite the representations of an embassy of distinguished men who woo her in behalf of the King of Frisia. Whereupon Orlando, who happens by, appears before the King's city and, after sending in a fruitless challenge by a sentry, storms the place and pursues the king to his death. Secondly, Sacripant, one of the rejected suitors in the play, craftily causes Angelica first to be banished and then condemned to death by her father, who falsely brands her as false to Orlando; the hero, however, rescues her in the

la See the Explanatory Notes: Lines 732-739 and also Ariosto's Orlando Furioso ed. by Riccardo Riccardi (Napoli, Italy: Milano, 1954), pp. 720-721. 5 end, clears her name, and wrings confessions from Sacripant. Lemmi compares this with Canto IV of the poem, in which another scheming aspirant to the hand of another princess attempts precisely the same thing (which, incidentally, furnishes Shakespeare with the similar episode in Much Ado About Nothing); then Rionald, the knight, wrings confession from the villain, having rescued the princess's maid from ruffians in a forest, exactly as Orlando rescued Angelica from death in the play. Third, Lemmi further stresses that in both the play and the poem, Orlando goes insane, once convinced that Angelica is false to him. In both treatments, the hero recovers in exactly three months. Fourth, Lemmi deduces Greene's greater indebtedness to Ariosto's Orlando Furioso by claiming that the playwright was familiar with this epic between 1588 and 1590, during which time he is supposed to have written the play. The following evidence, Lemmi contends, testifies to Greene's indebtedness to Ariosto: (1) Greene quotes in the original from Canto XXI of Francesco's Fortunes and from Canto XXXVI of The Spanish Masquerado; (2) Greene borrows the story of Lydia from Canto XXXIV in his Opharion; (3) he twice alludes to Canto XIX of Alcida; (4) he gives us three translated stanzas from the poem in Penelope's Web. These facts, he contends, prove that Greene was very fond of Ariosto's Orlando Furioso as a literary source and inspiration, and that the playwright was well versed in the Italian original. Lastly, Lemmi points out that Greene quotes in the original from Canto XXVII (II, i), that he accurately translates from Canto XV (I, i), that he paraphrases the description of Orlando's helmet in Canto XLI, and that he so closely follows the description of the hero's attempt at self-delusion in Canto XXIII that it amounts to paraphrasing (II, i). Thus Lemmi concludes that Greene took the title of Ariosto's play, the name of his characters, various descriptive details from a famous poem with which Greene was very familiar, and that the playwright borrowed a number of situations quite similar to those in the poem. 13 In 1934 Morris Robert Morrison went even further in the textual problems and source study occasioned by the play by arguing on Charles W. Lemmi's revealing essay of 1916. Morrison firmly believes that Canto V of Ariosto's epic really supplies the basic structure for Greene's play. Instead of building his play on the Orlando-Angelica episode, as does the Italian epic, Greene retains the names but substitutes the story of Ariodantes and Genevra. The various elements which are used to complicate the drama are borrowed from different parts of the Italian poem. The most significant of

', Charles W. Lemmi, - The Source of Greene's Orlando Furioso," MLN, 31 (1916), 440-441. 6 these elements is the use of the love verse to cause Orlando's madness (See Canto XXIII). According to Morrison, Greene retains the outline of Ariosto's Orlando Furioso but makes several key alterations suggested by other parts of the original, such as: (1) the use of the name Orlando; (2) the introduction of the madness theme in place of the reported death; (3) the guilt of the lady that is made apparent by love-poems carved on trees, which purport to reveal an illicit love affair between Angelica and Medor, one of the courtiers of Marsilius' palace; and, (4) the more detailed description of Orlando's madness and Melissa's function as a healer. Thus Morrison contends that by viewing the Genevra story rather than the Angelica plot as the romantic basis of the play, we can provide a more logical parallel in the sequence of the epic. Morrison stresses Greene's particular indebtedness to Cantos IV, V, and VI of Ariosto's epic for the following reasons: (1) the character of Sacripant is modeled after that of Polinesso; (2) the character of Angelica and the whole course of her fortune are anticipated by Genevra; (3) the estrangement of the lovers in Act II, Scene ii, is found in Canto V; (4) the expedition of the peers in Act IV is based on Lucarno's attempt to avenge his brother; (5) the confession and death of Sacripant in Act V, Scene i, parallel those of Polinesso; (6) the tournament in Act V, Scene ii, is based on the tourney in Canto V; (7) the masking of Orlando is borrowed from the masking of Ariodantes; and (8) the reconciliation and betrothal reflect Canto VI, which continues and concludes the Ariodantes-Genevra tale in Ariosto. 14 In essence Ariosto's epic deals with three main stories: first, that of the wars of Charlemagne and the invading Saracens, second, the romantic tale of Orlando's hopeless love for Angelica and his subsequent madness, and third, the love story of Rogero and Bradament, the supposed ancestors of the great house of Este. Ariosto's work is a Renaissance epic mingling the world of chivalry and fantasy with actual religious and political conflicts. In con- trast to Greene's play, Orlando's madness is not the central action of the epic, but the most important of the minor episodes. Unlike Greene's Orlando Furioso, the Christian cause is threatened and challenged by the Saracens in Ariosto's epic. Finally, in Ariosto's poem the world is motivated by religion and politics, rather than by love and hate alone. 15

14 Morris Robert Morrison, "Greene's Use of Ariosto in Orlando Furioso," MLN, 49 (1934), 449-450. °° Robert A. Hall, Jr., A Short History of Italian Literature (Ithaca, N. Y.: Linguistica, 1951), pp. 250-255. 7 E. Type of Play

The puzzling and unsolved textual problems due largely to the substantial discrepancies between the two quartos (A, 1594 and B, 1599) and the Alleyn Manuscript seem to have prevented most scholars from seriously dis- cussing Greene's Orlando Furioso as literature. Although the play obviously does not command our respect as much as Shakespeare's romantic comedies certainly do—The Merchant of Venice, As You Like It, and Much Ado About Nothing—perhaps a more attentive literary examination of the play is now in order. Greene's play dramatizes the romantic love story found in Lodovico Ariosto's epic, Orlando Furioso; in the play Orlando goes insane through jealousy of his supposedly successful rival Medor and through his fury at Angelica who, he thinks, has betrayed him. At the palace of Marsillus, the emperor of Africa, several suitors have previously attempted to win Angelica's hand. The scene reminds one of the three caskets in The Merchant of Venice, although the latter is far more suspenseful and more skillfully structured than Greene's comedy. Orlando, drawn away from Charlemagne's court by the "fame of fair Angelica," is her choice, which her father, Marsilius, firmly endorses. Yet, her choice and her father's endorsement invite the fury of her unsuccessful suitors, some of whom then declare a war against Marsilius. In the courtly love tradition this reaction is more or less expected, and it func- tions as the exciting force in the plot. Sacripant, a poorly drawn Machiavellian character, on the other hand, attempts to fulfill his Tamburlaine-like ambition by marrying Angelica in spite of her professed love for Orlando. "Sweet are the thoughts that smother from conceit," says Sacripant; similarly his chair is "a throne of majesty," and his thoughts are "drawn on a diadem." Thus he aspires to become "coequall with the gods." Flatly rejected by Angelica, however, Sacripant soon tricks Orlando into believing Angelica's seeming love affair with Medor and causing Orlando's subsequent madness. Yet, in the play Sacripant, unsuccessful in winning his lady and keeping his throne, is eventually destroyed by a "madman." If this play is a perversion of the Tamburlaine motif, it may also be a burlesque on the Senecan tragedy, a form popular in Greene's time. Like Shakespeare in Hamlet and King Lear, and like Kyd in The Spanish Tragedy, Greene uses insanity as an important theme, but he fails to achieve the tragic effects of Shakespeare and Thomas Kyd, whose Hieronimo in The Spanish Tragedy Greene is sometimes believed to be parodying. At any rate, Greene's use of Orlando's madness is conventional; yet he fails to make his madman more than a source of entertainment. In the first place Orlando's

8 violence is so remarkable that Orlando represents a slapstick element of the play. Unlike Shakespeare and Kyd, however, Greene achieves a humor of situation and manners without tragic impact; he tears a shepherd limb from limb offstage, for example, and reappears with a leg upon his shoulder, and thinks that it is Hercules' club and that he is himself Hercules. In this situation, Greene's mock heroic tone stands out when the scene is supposed to be serious and pathetic as a result of Orlando's sudden madness. Thus his insanity is not at all tragic but absurd, not pathetic but comical and burlesque. 16 Secondly, Orlando's madness takes a more rhetorical turn. His hyperbolic ranting is of a classical and Senecan vein, especially in Act II, Scene i. The hero feels "the flames of Aetna" rise in his heart; he calls Medor's servant, who has been forced to stay at his side, "a messenger of Ate." He bids him speak lest he should send the captive to "Charon's charge." While Sacripant's Man, disguised as a shepherd, tells Orlando about Angelica's love affair with Medor, the hero invokes the Arcadian nymphs and the nieces of Titan. His verbal blast reaches its climax in the Latin quotation from Mantuan's Eclogues, IV, 110-111: "Foemineum seruile genus, crudele, superbum" ("To be born feminine is to be born a slave, inhuman and haughty")." Greene follows another Elizabethan dramatic convention, that a good woman is often mistaken for a disloyal person; thus he stresses the universal theme of appearance vs. reality. To enforce this theme, Greene depends more on situation than on characterization, since most of his characters are mere stereotypes, not complex individuals; much of their action deriving from an improbable situation in which love is subjected to severe and undeserving strain. Incredible as it is, Angelica's own father most willingly and most cruelly banishes her from his empire like Lear and helps the Twelve Peers of France find her for execution. He may represent "justice," but there is neither mercy nor the "milk of human kindness" in him. This kind of improbable element in the play effectively fortifies Greene's "appearance vs. reality theme," since it dramatizes the juxtaposed sense of value, as in Much Ado About Nothing and Measure for Measure. Greene's classical allusions also are so heavily interwoven into the text that they tend to prevent smooth flow, keen insight, emotional impact, and popular appeal. Perhaps Greene intended to ridicule Marlowe's Tarnburlaine through Sacripant, a villainous antagonist and a poorly drawn "pseudo- Tamburlaine." It is true that the villain has grand and wild dreams of love,

16 Dickinson ( ed ) , p. 17 Rolf Soellner, "The Madness of Hercules and the Elizabethans," Comparative Literature, 10 ( 1958) , 309-324. 9 power, and conquest, but he comes repentant to a premature ending, slain by Orlando in single combat. 18 M. C. Bradbrook makes an original observation on the structure of Green's Orlando Furioso, when she points out several unique features of this romantic comedy. First of all, Orlando Furioso has the unity of an old wives' tale. Here Orlando is a "wandering knight," one of the Twelve Peers of Charlemagne who appear in the final scene; when the disguised Orlando fights with three of them, he is recognized as the man they have been seeking, the search for a lost comrade unifying the drama throughout. Furthermore, in the beginning of the play, four monarchs appear and woo Angelica in pompous, Tamburlaine-like terms, in such case concluding with the same couplets:

But leauing these such glories as they be, I loue my lord, let that suffice for me. (11. 57-58)

Their wooing, Angelica's choice of Orlando, and the rejected suitors' fury and subsequent war against Marsilius similarly unify in a peace-chaos-war- peace cycle. Secondly, the love-hate theme also unifies the play. Orlando's madness is caused by the wicked Sacripant, who plots to destroy the union between Orlando and Angelica by hanging love poems under the trees of the grove as Orlando does in As You Like It, and by thus suggesting Angelica's apparently secret love affair with Medor. Yet, in the end it is Orlando, who once sought to kill Angelica, who rescues her when she is about to be executed at the demand of the Peers of France. Thus the love-hate-restored love cycle supports the structure, while echoing the peace-chaos-peace pattern of the work; in short, personal fate is microcosmic of the larger fortune and misfortune. Thirdly, Melissa, a Good Fairy under the disguise of a poor old enchantress, charms Orlando to sleep with her wand and proceeds to recite her invocation in Latin to restore his sanity. Furthermore, Orlando himself recites Italian when he is insane; impossible as it seems, he beats the clowns and later leads an army of clowns equipped with spits and pans to victory. At the climax he re-enters, dressed as a "poet" and preparing to storm both heaven and hell while comparing himself to Hercules and Orpheus. This attempt to unify old fairy tales with an Italian plot, with scraps of Latin and Italian learning, and borrowings from the popular Ariosto, is glued together

18 Jordan, pp. 179-180; 193-195; G. E. Woodbury, "Robert Greene: His Place in Comedy" in Representative English Comedies by C. M. Gayley (New York: Macmillan, 1916), pp. 385-394; Thomas Marc Parrott and Robert Hamilton Ball, A Short View of Elizabethan Drama [New York: Scribner's, 1943 (1958)), P. 7 1- 10 by such stage devices as the procession of kings by Orlando's rivals at the beginning, and by the combat of the Twelve Peers at the end. The play's natural harmony lies in its fairy-tale fantasy, an element which binds the play together in spite of such obvious shortcomings as an improbable situation, unmotivated action and insufficiently developed characters, and a heavy

and undiscerning use of classical allusions) 9 To sum up, Greene's Orlando Furioso relies heavily on the following dramatic devices: (1) an abundant and sustained use of accident, coinci- dence, and chance, as in Orlando's timely recovering and saving of Angelica; (2) a frequent but not fully successful use of disguise on the part of several characters, including Orlando (as "a mercenary soldier"), Angelica (as "a poor woman"), Marsilius and Mandricart (as "palmers"), and Sacripant's Man (as a "shepherd"); (3) a considerable use of magic and the super- natural in the fabrication of a romantic make-believe world as, for instance, in the good enchantress Melissa's representation of the fairy-tale element by suddenly restoring the hero to sanity and by revealing the truth about Sacripant, the author of Orlando's misfortune and the banishment of Angelica; and, finally, by a use of incredible, unaccountable, motiveless action, as in Marsilius' unhesitant endorsement of the Twelve Peers' intention to persecute his own daughter. It is definitely Greene's weakness and/or immaturity as an artist that he fails to create the illusion of plausibility in the motivation of such characters as Orlando, Marsilius, Mandricart, Sacripant, and Melissa. Yet his work, following the romantic tradition, is full of tenderness, goodness, mercy, and justice; it offers a glimpse of wickedness that triumphs temporarily. Then there are no really wicked characters, such as Iago, Richard III, or Edmund. Furthermore, the virtuous and innocent, who function temporarily as mis- understood victims of circumstances, are ultimately rewarded. Fourth, the ending is typified by forgiveness, reconciliation, and love, a dramatic convention which comes from the Greek romances and which Shakespeare was to follow more successfully in his own romantic comedies. 20

"M. C. Bradbook, The Growth and Structure of Elizabethan Comedy (Baltimore: Penguin Books, 1955), PP. 77-78. 2° E. C. Pettett, Shakespeare and the Romantic Tradition (London: Staples Press, 1949), pp. 54-66.

11 Chapter II

Bibliographical Introduction

A. Bibliographical Description of A (Q1, 1594) and B (Q2, 1599)

Entries in the Stationers' Register

Decembris [1593] John Danter / Entred for his copie vnder th[e h]andes of the This copie is put wardens, a plaie / booke, intituled, the historye of ouer by the con- ORLANDO /juries°. / one of the xij peers of sent of John Ffraunce. . . . [Arber (ed.), II, 64] Danter to Cuthbert Burbye.

XXVill die Maij [1594] Cuthbert Burbye. / Entred for his copie by consent of John Danter. and by warraunt / from Master warden Cawood vnder his hande. A booke entytuled./The historic of ORLAN- DO furioso: & c PROUIDED ALWAIES, and yt is / agreed that soe often as the same booke shalbe printed, the saide John Darner to haue th[e] im- pryntinge thereof. / . . . vja [Arber (ed.), II, 650]

A, 1594 (STC 12265) Copies Located: British Museum, Folger (Heber-Perkins-Britwell-White), Huntington (Bridgewater), Library of the Victoria and Albert Museum (Dyce; imp.) Title-page: [Ornaments] THE HISTORIE OF / Orlando Furioso / one of the twelue pieres of France, / As it was plaid before the Queenes Maiestie. [Device: McKerrow, 295] / LONDON. / Printed by John Danter for Cuthbert Burbie, and are to be / sold at his shop nere the Royall Ex- change. / 1594. Cob phone: None.

Collation: 4°, A-H 4 , 32 leaves unnumbered. 12 HT: [Device: McKerrow, 259a] / THE HISTORIE OF / Orlando Furioso / One of the twelue pieres of /France. RT: THE HISTORIE OF / ORLANDO FVRIOSO. [HISTORY ON G2v 4v]. Contents: Al: Verso blank. A2: Title; Verso blank. A3: HT, Text begins. H4v: Finis [Ornament].

B, 1599 (STC 12266) Copies Located: Bodleian (Malone), British Museum, Chapin Library, (Bridgewater-Huth), Folger (Clawson), Harvard (White), Huntington (Huth), Pepysian Library, Cambridge, Library of the Victoria and Albert Museum (Dyce; imp.), Yale. Title-page: [Ornament) / THE / HISTORIE OF / ORLANDO EVRIOSO, /ONE OF THE TVVELVE/PEERES OF FRANCE./As it was playd before the Queenes Maiestie. / [Device, McKerrow, 2811 / Imprinted at London by Simon Stafford, / for Cuthbert Burby: And are to be sold at his shop / neere Royall Exchange, 1599. Colophon: None. Collation: 4°, A-H 4 [fully signed]. 32 leaves unnumbered. HT: [Ornament]THE / HISTORIE OF / ORLANDO FVRIOSO, / ONE [OF] THE TWELVE / Peers of France. RT: THE HISTORIE OF / ORLANDO FVRIOSO. Contents: Al: Verso blank. A1 3 : Title; Verso blank. A2: HT, text begins. H2: Finis. [Ornament]. 24

B. Bibliographical Description of AM (the Alleyn Manuscript)

In addition to two extant quartos, A (Q1, 1594) and B (Q2, 1599), an imperfect and mutilated manuscript of the role of Orlando is preserved among the Alleyn papers at Dulwich College (MS. I, 138, occupying folios 261-271). According to W. W. Greg, the Alleyn Manuscript now consists of a number of detached leaves (folios 261-271) bound up at the end of a volume of collected papers, but these leaves, which are written on one side only, were originally pasted together to form a long roll six inches wide." 22 This manuscript has puzzled many students of Robert Greene. The AM

21 Johnstone Parr, et al (eds.), List of Editions, Copies and Locations of the Works of Robert Greene (Birmingham, England: Shakespeare Institute, 1958). 22 Greg (ed.), The History of Orlando Furioro, 1594 (Oxford: Malone Society Reprints, 1907), pp. v-vi; Greg, A Bibliography of the English Printed Drama. . . . (London: Bibliograph- ical Society, 1939), 122-123. 13 is the dramatic part of Edward Alleyn, the actor who performed as Orlando. Imperfect and mutilated as it is, the AM contains, significantly enough, Orlando's speeches and cues for approximately two thirds of the play. Fur- thermore, the manuscript is corrected and revised by Edward Alleyn; this suggests that Alleyn studied the part and even that it might have been written for his use. The Alleyn Manuscript has been analyzed and transcribed by several scholars, since its unique importance lies in the certainty that its text com- prises a considerable departure from the printed quartos. John Payne Collier, the "first discoverer" of the manuscript, seems to have transcribed the AM rather inaccurately in his Memoirs of Edward Alleyn, Founder of Dulwich College (London: Shakespeare Society, 1841), Appendix III, pp. 198-213. Subsequently, Alexander Dyce produced the variations and additions of the manuscript in the notes to his later editions, but regretfully relied too heavily on Collier's transcription. Alexander B. Grosart merely transferred Dyce's notes to his editions and added some comments. Then J. Churton Collins included his own transcribed text, which is much more accurate than that of Collier, in his The Plays and Poems of Robert Greene (Oxford: Clarendon Press, 1905), I, 266-278. W. W. Greg even more meticulously transcribed it and appendixed it in his Henslowe Papers (Appendix III, pp. 156-171). 23 In 1909 Thomas H. Dickinson studied the AM and noted the variants in the notes in his Robert Greene (Mermaid Series). It was not until 1922, however, that a serious and thorough study was made of this controversial manuscript. In that year W. W. Greg, who made both a detailed description and an analysis of the manuscript, claimed that the Alleyn Manuscript must have been a far better copy than the printed texts, and closer to the originally written play, which unfortunately is not extant. However, B. A. P. Van Dam, who examined Greg's textual notes of the AM, contends that in spite of Greg's claim, A (Q1, 1594), which was degraded by Greg in 1922, still has an authority that the AM does not command, because Van Dam discovered more obvious errors and imperfections in the AM than in A. 24 Controversial as the AM may be, I believe it is still essential that the reader of Orlando Furioso be familiar with the discrepancies between A and AM. Therefore, I have reprinted, with minor revisions, the AM which was originally transcribed by Collier (1841), Collins (1905), and more significantly by Greg (1909 and 1922), and which is essentially based on Greg's

"Greg, Two Elizabethan Abridgements, p. 135. 24 Cf. Greg, The History of Orlando Furioro, 1594 (1907) and his Two Elizabethan Abridge- ments (1922) along with Van Dam's article in English Studies (1929). 14 transcription but simplified. I indicate in italics those lines which are actually missing in the printed texts or substantially different from the quartos.

C. Modern Editions

(1) 19th Century Editions: (a) Alexander Dyce (ed.), The Dramatic Works of Robert Greene. 2 vols. London: William Pickering, 1831. I, 1-53 (Dyce 2) (Copy-text: A, collated with B and AM). (b) (ed.), The Dramatic and Poetic Works of Robert Greene and George Peele. London: Routledge, Warne, and Routledge, 1861. 1-153 (Dyce 1) (the same as above). (c) (ed.), The Dramatic and Poetical Works of Rob- ert Greene and George Peele. London: George Routledge, 1883 (the same). (d) Alexander B. Grosart (ed.), Life and Complete Works in Prose and Verse of Robert Greene. 15 vols. London: Huth Library, 1881-86. XXIII, 111-198 (Copy-text: B, collated with Dyce). (2) 20th Century Editions: (a) John Churton Collins (ed.), The Plays and Poems of Robert Greene. 2 vols. Oxford: Clarendon Press, 1905. I, 221-278; 304-319 (Copy-text: A, collated with B and AM). (b) Thomas H. Dickinson (ed.), Robert Greene. London: T. Fisher Unwin, 1909 (Mermaid Series) (Copy-text: A, collated with B and AM). (c) Walter W. Greg (ed.), The History of Orlando Furioso, 1594. Oxford: Malone Society Reprints, 1907 (Copy-text: A, collated with B and AM). (facsimile). (d) W. W. Greg. Two Elizabethan Abridgements: The Battle of Alcazar and Orlando Furioso. Oxford: Malone Society Extra Volume, 1922. pp. 125-366 (an examination of the AM and A).

D. Treatment of the Text

The principles of editing this play are essentially those found in the Instructions to Editors of the Works of Robert Greene by Johnstone Parr 15 and I. A. Shapiro (Shakespeare Institute, University of Birmingham, Eng- land, 1959). Since every play has its own peculiar textual problems, however, certain revisions and additions had to be made concerning the principles of establishing the text; our first objective is to clarify the text after all. The copy-text has been faithfully reproduced, but manifest errors and misprints have been emended. Any editorial deviations from the copy-text, except those specified below as being silently corrected, have been recorded in the textual notes at the end of the text. The copy-text has been reproduced according to the principles which follow. (1) The original spelling has been retained. This applies to the old spelling i when modern usage has j (as in ioy, iudge, and object), and to the old spelling v for modern u and vice versa (as in vpon, loue, and vp). (2) The word-divisions of the copy-text have been reproduced (as in no body, shaltbe). (3) Elizabethan spelling variants, such as / for Aye, then for than, of for off, to for too (or the reverse) have been retained. (4) Spell- ings of proper names have been reproduced exactly as they appear in the copy-text, no matter how diversely. (5) The signature of each page of the copy-text is given in the outer margin opposite the first words of that page. Signatures are given as Al, A2, A2v, etc., regardless of variations in the type-face of the original. Unsigned leaves have given appropriate signatures without brackets. The punctuation of the copy-text has been reproduced except when it is clearly erroneous by its own standards or could mislead a reader. A comma at the end of a speech, where a period is clearly intended, has been emended. When a period precedes a lower-case letter, or when a comma precedes a capital letter, the necessary emendation has been made. Other capitals, colons, question marks, and the like have not been altered unless they are obviously in error or misleading. No apostrophes have been inserted to indicate the possessive case or elision.

The following alterations have been made silently: (1) Long s ( f ) has been replaced by modern s, and vv and VV by w and W. (2) Ligatures (A st, ct, etc.) and the diagraphs ce and cr have been reproduced as two separate letters. (3) Turned or damaged letters and punctuation marks have been corrected. (4) Obvious spacing errors which wrongly divide a word (has band) or combine words (ofher for of her) have been corrected. (5) Ornamental initials, italics, and swash capitals have been replaced by roman capitals. (6) Head-and-tail pieces and other printer's ornaments have not been reproduced. (7) All stage directions, settings, and character names before speeches have been italicized. (8) No attempt has been made to reproduce hyphens at the end of lines. (9) The original 'tut, yt, and ye are 16 changed to with, that, and the. (10) The "false concord," the acceptable Elizabethan subject-verb disagreement, is corrected; for instance, "They was" and "He make" are changed to "They were" and "He makes." All emendations of the punctuation have been recorded in the textual notes. Significant emendations suggested by another editor and accepted by this editor have also been acknowledged in the textual and/or explanatory notes.

17 Chapter III

The Text of The History of Orlando Furioso

A. [Dramatis Personae: List of Characters in Order of Ap- pearance)

Marsilius, Emperor of Africa. The Soldan of Egypt. Rodamant, King of Cuba. Mandrecard, King of Mexico. Brandemart, King of the Isles. Orlando, County Palatine. Angelica, daughter of Marsillus. County Sacripant. His Man. Orgalio, page of Orlando. The Duke of Aquitaine. County Rossilion. A Soldier of Rodamant. Medor. A Soldier of Marsilius. Tom, a clown. Rafe (or Ralph), a clown. Orger (or Ogier). Names (or Namus). Oliver. Peers of France Tuppin. A Fiddler. Melissa, an enchantress. Attendants, soldiers, other Peers of France, satyrs.*

[" W. W. Greg (ed.), The History of Orlando Furioso, 1594. (Oxford: Malone Society Reprints, 1907), p. x.1

18 . xt

THE HISTORIE OF ORLANDO FURIOSO, One of the Twelue Pieres of France.

[Act I, Scene i The Palace of Marsilius] Enter Marsilius, the Emperour of Affrica, and Angelica his Daughter, 3 the Soldane, {Rodamant), the King of Cuba, Mandrecard, Brandemart, Orlando, County Sacre pant, with others.

MARS1LLVS.

Victorious Princes summond to appeare 5 Within the Continent of Africa, From seauenfold Nylus to Taprobany, Where faire Apollo darting forth his light Plaies on the Seas. From Gadis Bands where stowt Hercules, 10 Imblasde his trophees on two posts of brasse, A3v To Tanais whole swift declining flouds, Inuirons rich Europa to the North, All fetcht from out your Courts by beauty to this Coast, To seeke and sue for faire Angelica. 15 Sith none but one must haue this happy prize, At which you all haue leueld long your thoughts: Set each man forth his passions how he can, And let her Censure make the happiest man.

SOLDAN. 20 The fairest flowre that glories Affrica, Whose beauty Phoebus dares not dash with showres, Ouer whose Clymate neuer hung a Clowde, But smiling Titan lights the Horyzon: Egypt is mine and there I hold my State, 25 Seated in Cairye and in Babylon; From thence the matchlesse beauty of Angelica, Whose hew as bright as are those siluer Doues, That wanton Venus manth vpon her fist, Forst me to crosses and cut th'Atlanticke Seas, 30 To ouersearch the fearfull Ocean, Where I ariud to eternize with my Launce, 19 [I, The matchles beauty of faire Angelica. Nor Tilt, nor Tournay, but my Speare and shield, Resounding on their Crests and sturdy HeImes 35 Topt high with Plumes, like Mars his Burgonet, Inchasing on their Curats with my blade, That none so faire, as faire Angelica. But leauing these such glories as they be, A4 I love my Lord, let that suffice for me. 40 RODAMANT. Cuba my seate, a Region so inricht, With fauours sparkling from the smiling heauens, As those that seeke for trafficke to my Coast, Account it like that wealthy Paradice, 45 From whence floweth Gyhon and swift Euphrates: The earth within her bowels bath inwrapt, As in the massie storehowse of the world, Millions of gold as bright as was the showre, That wanton Ioue sent downe to Danae: 50 Marching from thence to manage Armes abroade, I passt the triple parted Regiment, That froward Saturne gaue vnto his sonnes, Erecting Statues of my Chivalry, Such and so braue as neuer Hercules, 55 Vowd for the loue of louely Iole: But leauing these such glories as they be, I loue my Lord, let that suffice for me.

MANDRECARDE. And I, my Lord, am Mandrecarde of Mexico, 60 Whole Clymate farer than Iberias, Seated beyond the Sea of Trypoly And richer than the plot Hesperides, Or that same Ile wherein Vlysses loue, ld in her lap the young Telegone, 65 A4v That did but Venus tread a daintie step, So would shee like the land of Mexico, As Paphos and braue Cypres set aside, With me sweete louely Venus would aside. 20 From thence mounted vpon a Sparnish Barke, 70 Such as transported Jason to the fleece: Come from the South, I furrowd Neptunes Seas, Northeast as far as is the frosen Rhene, Leauing faire Voya crost vp Danuby, As hie as Saba whose inhaunsing streames, 75 Cut twixt the Tartares and the Russians: There did I act as many braue attempts, As did Pirothous for his Proserpine. But leauing these such glories as they be,

I loue my Lord, let that suffice for me. 80

BRANDEMART. The bordring Rands seated here in ken, Whose shores are sprinkled with rich Orient Pearle, More bright of hew than were the Margarets,

That Caesar found in wealthy Albion, 85 The sands of Tagus all of burnisht golde, Made Thetis neuer prowder on the Clifts, That ouerpiere the bright and golden shore, Than doo the rubbish of my Country Seas:

And what I dare, let say the Portingale, 90 And Spaniard tell, who mand with mighty Fleetes, Came to subdue my Ilands to their King,

Filling our seas with stately Argosies, B1 Caluars and Magars hulkes of burden great,

Which Brandemart rebated from his coast, 95 And sent them home ballast with little wealth But leauing these such glories as they bee, I loue (my Lord) let that suffice for mee. Oil: Lords of the South, & Princes of esteeme,

Viceroyes vnto the State of Affrica: 100 I am no King, yet am I princely borne, Descended from the royall house of France, And nephew to the mightie Charlemaine, Surnamde Orlando the Countie Palatine.

Swift Fame hath sounded to our Westerne seas 105 The matchles beautie of Angelica, Fairer than was the Nimph of Mercurie, 21 11, Who when bright Phoebus mounteth vp his coach And tracts Aurora in her siluer steps, And sprinkles from the folding of her lap, 110 White lillies, roses and sweete violets. Yet thus beleeue me, Princes of the South, Although my Counties loue deerer than pearle, Or mynes of gold might well haue kept me backe; The sweet conuersing with my King and frends, 115 (Left all for loue) might well haue kept mee backe; The Seas by Neptune hoysed to the heauens, Whose dangerous flawes might well haue kept me backe; The sauage Mores & Anthropophagi Whose lands I past might well haue kept me backe; 120 The doubt of entertainment in the Court When I arriude might well haue kept me backe: But so the fame of faire Angelica, Blv Stampt in my thoughts the figure of her loue, As neither Country, King, or Seas, or Cannibals, 125 Could by dispairing keep Orlando backe. I life not boast in acts of chivalrie, (An humor neuer fitting with my minde) But come there forth the proudest champion That hath suspition in the Palatine, 130 And with my trustie sword Durandell Single, Ile register vpon his helme, What I dare doo for faire Angelica. But leauing these, such glories as they bee; I loue, my Lord. 135 Angelica her self e shall speak for mee. Mar: Daughter, thou hearst what loue hath here alleadge, How all these Kings by beautie summond here, Put in their pleas for hope of Diademe, Of noble deeds, of welth and chivalrie, 140 All hoping to possesse Angelica. Sith fathers will may hap to ayme amisse, (For parents thoughts in loue oft step awrie) Choose thou the man who best contenteth thee, And he shall weare the Affricke Crowne next mee. 145 For trust me Daughter, like of whom thou please, 22 Thou satisfide, my thoughts shall be at ease. Ang: Kings of the South, Viceroyes of Affrica, Sith Fathers will hangs on his Daughters choyce, And I as earst Princesse Andromache, 150 Seated admidst the crue of Priams sonnes, Haue libertie to chuse where best I loue; Must freely say, for fancie hath no fraud, B2 That farre vnworthie is Angelica Of such as deigne to grace her with their loues, 155 The Souldan with his seate in Babylon, The Prince of Cuba and of Mexico, Whose welthie crownes might win a womans will; Yong Brandemart, master of all the Iles, Where Neptune planted hath his treasurie: 160 The worst of these men of so high import, As may command a greater Dame than I. But Fortune or some deep inspiring fate, Venus or else the bastard brat of Mars, Whose bow commands the motions of the minde, 165 Hath sent proud loue to enter such a plea, As nonsutes all your Princely euidence, And flat commands that maugre Maiestie, I chuse Orlando, Countie Palatine. Ro: How likes Marsillus of his daughters choice? 170 Mar: As fits Marsilius of his daughters spouse. Ro: Highly thou wrongst vs, King of Affrica, To braue thy neighbor Princes with disgrace, To tye thy honor to thy daughters thoughts, Whose choyce is like that Greekish giglots loue, 175 That left her Lord Prince Menelaus, And with a swaine made scape away to Troy. What is Orlando but a stragling mate, Banisht for some offence by Charlemaine, Skipt from his country as Anchises sonne, 180 And meanes as he did to the Carthage Queene, To pay her ruth and ruine for her loue? On: Iniurious Cuba, ill it fits thy gree B2v To wrong a stranger with discurtesie. Wert not the sacred presence of Angelica 185 23 [I, Preuailes with me (as Venus smiles with Mars) To set a Supersedeas of my wrath, Soone should I teach thee what it were to braue. Man: And French man wert not gainst the law of armes In place of parly for to draw a sword, 190 Vntaught companion I would learne you know What dutie longs to such a Prince as hee. On: Then as did Hector for Achilles Tent, Trotting his Courser softly on the plaines, Proudly darde forth the stoutest youth of Greece: 195 So who stands hiest in his owne conceipt, And thinkes his courage can performe the most, Let him but throw his gauntlet on the ground, And I will pawne my honor to his gage, He shall ere night be met and combatted. 200 Mar: Shame you not Princes at this bad agree, To wrong a stranger with discurtesie? Beleeue me, Lords, my daughter bath made choice, And mauger him that thinkes him most agreeud, She shall enioy the Countie Palatine. 205 Bran: But would these Princes folow my aduise And enter armes as did the Greekes gainst Troy; Nor he nor thou shouldst bane Angelica. Rod: Let him be thought a dastard to his death, That will not sell the trauells he hath past, 210 Dearer than for a womans fooleries. What saies the mightie Mandricard? Man: I vow to hie me home to Mexico, B3 To troop my selfe with such a crew of men, As shall so fill the downes of Affrica 215 Like to the plaines of watrie Thessalie, When as an Easterne gale whistling aloft Had ouerspred the ground with Grashoppers. Then see, Marsilius, if the Palatine Can keep his Loue from falling to our lots, 220 Or thou canst keep thy Countrey free from spoile. Mar: Why, think you, Lords, with hautie menaces To dare me out within my Pallace gates? Or hope you to make conquest by constraint 24 [I, Of that which neuer could be got by loue? 225 Passe from my Court, make hast out of my land Stay not within the bounds Isilarsillus holds; Least little brooking these vnfitting braues, My cholar ouer-slip the law of Armes, And I inflict reuenge on such abuse. 230 Rod: Ile beard & braue thee in thy proper town, And here inskance my selfe despite of thee, And hold thee play till Mandricard returne. What saies the mightie Souldan of Egypt? Sol: That when Prince Menelaus with all his mates, 235 Had ten yeres held their siege in Asia, Folding their wroths in cinders of faire Troy: Yet for their armes grew by conceit of loue, Their Trophees were but conquest of a girle: Then trust me Lords Ile neuer manage armes, 240 For womens loues that are so quickly lost. Bran: Tush, my Lords, why stand you vpon termes Let vs to our Skonce, and you my Lord to Mexico. B3v Exeunt Kings. On: I, sirs, inskonce ye how you can, see what we dare, 245 And thereon set you rest. Exeunt Oinnes {except Sacripant and his Man). Sac: [asidel Boast not too much Marsilius in thy selfe, Nor of contentment in Angelica; 250 For Sacrepant must haue Angelica, And with her Sacrepant must haue the Crowne: By hooke or crooke I must and will haue both. Ah sweet Reuenge incense their angrie mindes, Till all these Princes weltring in their blouds, 255 The Crowne doo fall to Countie Sacrepant. Sweet are the thoughts that smother from conceit: For when I come and set me downe to rest, My chaire presents a throne of Maiestie: And when I set my bonnet on my head, 260 Me thinkes I fit my forhead for a Crowne: And when I take my trunchion in my fist, A Scepter then comes tumbling in my thoughts. My dreames are Princely, all of Diademes, 25 II, Honor: me thinkes the title is too base. 265 Mightie, glorious and excellent: I, these, my glorious Genius, sound within my mouth: These please the eare, and with a sweet applause, Make me in tearmes coequall with the Gods. Then these Sacrepant, and none but these. 270 And these or else make hazard of thy life. B4 Let it suffice, I will conceale the rest. Sirra. Man: My Lord? Sacrep: (aside) My Lord. How basely was this Slaue 275 brought vp That knowes no titles fit for dignitie, To grace his Master with Hyperboles. My Lord. Why the basest Baron of faire Affrica, Deserues as much: yet Countie Sacrepant, 280 Must he a swaine salute with name of Lord. Sirra, what thinkes the Emperor of my colours, Because in field I weare both blue and red at once? Man: They deeme, my Lord, your Honor hues at peace, 285 As one thats newter in these mutinies, And couets to rest equall frends to both: Neither enuious to Prince Mandricard, Nor wishing ill vnto Marsilius, That you may safely passe where ere you please, 290 With frendly salutations from them both. Sac: I, so they gesse, but leuell farre awrie, For if they knew the secrets of my thoughts, Mine Embleme sorteth to another sense. I weare not these as one resoulud to peace, 295 But blue and red as enemie to both. Blue, as hating King Marsilius; And red, as in reuenge to Mandricard: Foe vnto both, frend onely to my selfe, And to the crowne, for thats the golden marke, 300 Which makes my thoughts dreame on a Diademe: B4v Seest not thou all men presage I shall be King? Marsilius sends to me for peace, Mandreard puts of his cap ten mile off,

26 [I, Two things more & then I cannot mis the crowne. 305 Man: 0, what be those, my good Lord? Sacr: First must I get the loue of faire Angelica. Now am I full of amorous conceipts, Not that I doubt to haue what I desire, But now I might best with mine honor woo, 310 Write, or intreate: fie that fitteth not, Send by Ambassadors: no thats too base. Flatly command I thats for Sacrepant: Say thou are Sacrepant and art in loue

And who in Affricke dare say the Countie nay? 315 0 Angelica, fairer then Chloris when in al her pride Bright Mayas sonne intrapt her in the net, Wherewith Vulcan intangled the God of warre. Man: Your honor is to far in contemplation of Angelica, 320 As you haue forgot the second in attaining to the crowne. Sac: Thats to be done by poyson, prowesse, or anie meanes of treacherie to put to death the traitrous Orlando. But who is this come here? Stand close. 325 (Exeunt Omnes.} Enter Orgalio, Orlandos Page. Org: I am sent on imbassage to the right mightie and magnificent: alias, the right proud and Cl pontificall the Countie Sacrepant. For Marsilius & 330 Orlando, knowing him to be as full of prowesse as policie, and fearing least in leaning to the other faction, bee might greatly preiudice them, they seeke first to hold the candle before the diuell: & knowing hym to be a Thrasonicall mad-cap, they haue sent mee a 335 Gnathonicall companion, to giue him lettice fit for his lips. Now sir, knowing his astronomical humors, as one that gazeth so high at the starres, as he neuer looketh on the pauement in the streetes. But whilst,

Lupus est in fabula. 340 Sac: (coming forward} Sirra, thou that ruminatest to thy selfe a catalogue of priuie conspiracies, what are thou? Org: God saue your Majestic? Sac: My Majestic, come hether my well nutrimented 27 [I, Knaue, whom takest me to bee? 345 Org: The mightie Mandricard of Mexico. Sacr: I hold these salutations as omynous, for saluting mee by that which I am not, hee presageth what I shall be; for so did the Lacedemonians by Agathocles, who of a base potter, wore the Kingly 350 Diadem, but why deemest thou me to be the mightie Mandricard of Mexico? Org: Marie sir. Sacr: Stay there, wert thou neuer in France? Org: Yes, if it please your Maiestie. 355 Sac: So it seemes for there they salute their king by the name of Sir, Mounsier, but forward. Org: Such sparkes of peerlesse Maiestie, From those looks flame like lighting from the East C 1 v As either Mandricard, or else some greater Prince. 360 Sac: {aside) Me thinks these salutations make my thoghts To be heroicall. But say, to whom art thou sent? Org: To the Countie Sacrepant. Sacr: Why I am he. Org: It pleaseth your Maiestie to iest. 365 Sacr: What ere I seeme, I tell thee I am he. Org.. Then may it please your honor: the Emperor Marsilius together with his daughter Angelica and Orlando entreateth your Excellencie to dine with them. 370 Sac: Is Angelica there? Org: There, my good Lord. Sacr: Sirra. Man: My Lord. Sacr: Villaine, Angelica send for me. 375 See that thou entertaine that happie messenger. And bring him in with thee. Exeunt onznes.

Act I, Scene ii {Before the Walls of Rodamant's Castle). Enter Orlando, the Duke of Aquitaine, the Countie Rossilion with souldiers. Orl: Princes of France, the sparkling light of fame, 380 Whose glories brighter than the burnisht gates, 28 [I, From whence Latonas lordly sonne cloth march, When mounted on his coach tinseld with flames, He triumphs in the beautie of the heauens. This is the place where Rodamant lies hid: 385 Here lyes he like the theefe of Thessaly, Which scuds abroad, and searcheth for his pray; C2 And being gotten, straight he gallops home, As one that dares not breake speare in field. But trust me, Princes, I haue girt his fort, 390 And I will sacke it, or on this Castle wall, Ile write my resolution with my blood. Therefore drum sound a pane. Sound a Park, and one (soldier) comes vpon the walls. Sol: Who is that troubleth our sleepes? 395 Orl: Why sluggard, seest thou not Lycaons son The hardie plough-swaine vnto mightie Ioue, Hath tracde his siluer surrowes in the heauens, And turning home his ouer-watched teeme, Giues leaue vnto Apollos Chariot? 400 I tell thee sluggard, sleep is fame vnfit For such as still haue hammering in their heads, But onely hope of honor and reuenge. These cald me forth to rouse thy master vp. Tell him from me, false coward as he is, 405 That Orlando the Countie Palatine, Is come this morning with a band of French, To play him hunts-vp with a poynt of warre. Ile be his minstrell with my drum and fife: Bid him come forth, and dance it if he dare, 410 Let Fortune throw her fauors where she list. Sol: French-man between half e sleeping & awake Although the mystie vayle straind ouer Cynthia, Hinders my sight from noting all thy crue: Yet for I know thee and thy stragling groomes 415 C2v Can in conceit build Castles in the Skie: But in your actions like the stammering Greeke, Which breathes his courage bootlesse in the aire. I wish thee well Orlando: get thee gone, Say that a Centynell did suffer thee: 420 29 [I, For if the Round or Court of Gard should heare Thou or thy men were braying at the walls, Charles welth the welth of all his Westerne mynes, Found in the mountaines of Transalpine France,

Might not pay ransome to the King for thee. 425 Oil: Braue Centynell if nature hath inchast, A sympathie of courage to thy tale, And like the champion of Andromache, Thou or thy master dare came out the gates, Maugre the watch, the round, or Court of gard, 430 I will attend to abide the coward here. If not, but still the crauin sleepes secure, Pitching his gard within a trench of stones; Tell him his walls shall serue him for no proofe,

But as the sonne of Saturne in his wrath 435 Pasht all the mountaines at Typheus head, And topsie turuie turnd the bottome VP, So shall the Castle of proud Rodamant: And so braue Lords of France, lets to the fight.

Exeunt omnes. 440 Act I, Scene iii [A Battlefield). Alarums. Rodamant and Brandemart flue. Enter Orlando with his (Rodamant's) coate.

Oil: The Foxe is scapde, but heres his case: C3 I mist him nere, twas time for him to trudge.

How now my Lord of Aquitaine? 445 [Enter the Duke of Acquitaine). Aquit: My Lord, the Court of gard is put vnto the sword, And all the watch that thought themselues to sure, So that not one within the Castle breaths.

Oil: Come then, lets post amaine to fine out 450 Rodamant. And then in triumph march vnto Marsillus. Exeunt.

Act II, Scene i [Near the Castle of Marsilius). Enter Medor and Angelica. An: I meruaile Medor what my fathers names 30 [II, To enter league with Countie Sacrepant? 455 Med: Madam, the king your fathers wife inough, He knowes the Countie (like to Cassius) Sits sadly dumping, ayming Caesars death, Yet crying Ave to his Maiestie. But Madame marke a while, and you shall see, 460 Your Father shake him off from secrecie. Ang: So much I gesse, for when he wild I should Giue entertainment to the doating Earle, His speach was ended with a frowning smile. Med: Madame, see where he comes; Ile be gone. 465 Exit Medor. Enter Sacre pant and his man. Sacr: How fares my faire Angelica? Ang: Well, that my Lord so frendly is in league C3v ( As honors wills him with Marsilius.) 470 Sac: Angelica, shall I haue a word or two with thee? Ang: What pleaseth my Lord for to command? Sac: Then know my loue, I cannot paint my grief Nor tell a tale of Venus and her sonne, Reporting such a Catalogue of toyes. 475 It fits not Sacrepant to be effeminate. Onely giue leaue my faire Angelica, To say the Countie is in loue with thee. Ang: Pardon, my Lord, my loues are ouer-past, So firmly is Orlando printed in my thoughts, 480 As loue hath left no place for anie else. Sac: Why, ouer-weening Damsel, seest thou not, Thy lawlesse loue vnto this stragling mate Hath fild our Affrick Regions full of bloud? And wilt thou still perseuer in thy loue? 485 Tush, leaue the Palatine, and goe with mee. Ang: Braue Countie, know where sacred Loue vnities, The knot of Gordion at the shrine of Ioue, Was neuer halfe so hard or intricate, As be the bands which louely Venus ties. 490 Sweete is my loue: and for I loue my Lord, Seek not vnlesse as Alexander did, To cut the plough-swaines traces with thy sword, 31 [II, i) Or slice the slender fillets of my life: Or else my Lord, Orlando must be mine. 495 Sac: Stand I on loue? Stoop I to Venus lure, That neuer yet did feare the God of warre? Shall men report that Countie Sacrepant Held louers paines for pining passions? C4 Shall such a Syren offer me more wrong, 500 Than they did to the Prince of Ithaca? No: as he his cares, so Countie stop thine eye. Goe to your needle (Ladie) and your clouts. Goe to such milk-sops as are fit for loue: I will imploy my busie braines for warre. 505 Ang: Let not my Lords deniall breed offence, Loue doth allow her fauors but to one, Nor can there sit within the sacred shrine Of Venus, more than one installed hart. Orlando is the Gentleman I loue, 510 And more than he may not inioy my loue. Sac: Damsell, be gone, fancie hath taken leaue; Where I tooke hurt, there haue I heald my self e, As those that with Achilles lance were wounded, Fetcht helpe as selfe same pointed speare. 515 Beautie gan braue, and beautie hath repulse: And Beautie get yet gone to your Orlando. Exit Angelica. Man: My Lord: hath loue amated him whose thought 520 Haue euer been heroycall and braue? Stand you in dumpes like to the Mirmydon, Trapt in the tresses of Polixena: Who amid the glorie of his chivalrie, Sat daunted with a maid of Asia? 525 Sac: Thinkst thou my thoghts are lunacies of loue? No, they are brands fierd in Plutoes forge, Where sits Tsiphone tempering in flames C4v Those torches that doo set on fire Reuenge. I lovd the Dame, but bravd by her repulse, 530 Hate calls me on to quittance all my ills: Which first must come by offring preiudice 32 [II, Vnto Orlando, her beloued Loue. Man: 0, how may that be brought to passe, my Lord? 535 Sacr: Thus. Thou seest that Medor & Angelica Are still so secret in their private walkes, As that they trace the shadie lawndes, And thickest shadowed groues; Which well may breed suspition of some loue. 540 Now than the French no Nation vnder heauen Is sooner tutcht with stings of iealosie. Man: And what of that, my Lord? Sac: Hard by, for solace in a secret Groue, The Countie once a day failes not to walke: 545 There solemnly he ruminates his loue. Vpon those shrubs that compasse in the spring, And on those trees that border in those walkes, Ile slily haue engravn on everie barke The names of Medor and Angelica. 550 Hard by Ile haue some roundelayes hung vp, Wherein shalbe some posies of their loues, Fraughted so full of fierie passions, As that the Countie shall perceiue by proofe, Medor hath won his faire Angelica. 555 Man: Is this all my Lord. Sacr: No. For thou like to a shepheard shalt bee cloathed, With staffe and bottle like some countrey swathe, DI That tends his flockes feeding vpon these downes. There see thou buzze into the Counties cares, 560 That thou hast often scene within these woods Base Medor sporting with Angelica. And when he heares a shepheards simple tale, He will not thinke tis faind. Then either a madding mood will end his loue, 565 Or worse betyde him through fond iealosie. Man: Excellent. My Lord, see how I will playe the Shepheard. Sac: And marke thou how I play the caruer, Therefore be gone, and make thee readie straight. 570 Exit his man. Sacre pant { carves the names and] hangs vp the Roundelayes

33 [II, on the trees, and then goes out, and his man enters like a she pheard. Shep: Thus all alone and like a shepheards swain, 575 As Paris ( when Oenone lovd him well) Forgot he was the sonne of Priamus, All clad in gray sate piping on a reed; So I transformed to this Country shape, Haunting these groues to worke my masters will, 580 To plague the Palatine with iealosie, And to conceipt him with some deepe extreame. Here comes the man vnto his wonted walke. Enter Orlando and his Page Orgalio. Orl: Orgalio, goe see a Centernell be placde, 585 Dlv And bid the souldiers keep a Court of gard, So to hold watch till secret here alone, I meditate vpon the thoughts of loue. Org: I will, my Lord. Exit Orgalio. On: Faire Queene of loue, thou mistres of delight, 590 Thou gladsome lamp that waitst on Phoebues traine, Spreadding thy kindnes through the iarring Orbes, That in their vnion praise thy lasting powres. Thou that hast staid the fierie Phlegons course, And madest the Coach-man of the glorious waine* 595 To droop, in view of Daphnes excellence. Faire pride of morne, sweete beautie of the Eeuen, Looke on Orlando languishing in loue. Sweete solitarie groues, whereas the Nymphes With pleasance laugh to see the Satyres play; 600 Witnes Orlandos faith vnto his loue. Tread she these lawnds, kinde Flora boast thy pride, Seeke she for shades, spread Cedars for her sake, Faire Flora make her couch amidst thy flowres, Sweet Christall springs, wash ye with roses, 605 When she longs to drinke. Ah, thought my heauen; Ah heauen that knowes my thought. Smile ioy, in her that my content hath wrought. Shep: (aside) The heauen of loue is but a pleasant hell, Where none but foolish wights imprisned dwell. 610

* From here the Edward Alleyn Manuscript begins. 34 [II, i3 On: Orlando, what contrarious thoghts be these, That flocke with doubtful motions in thy minde? Heavn smiles, & trees do boast their summers pride: What? Venus writes her triumphs here beside. She: [aside] Yet when thine eie bath seen, thy hart shal rue 615 D2 The tragick chance that shortly shall ensue. Orlando readeth. Orl: Angelica. Ah, sweete and heauenly name, Life to my life, and essence to my ioy. But soft, this Gordion knot together co-unites 620 A Medor partner in her peerlesse loue. Vnkinde: and wil she bend her thoughts to change? Her name, her writing? Ah foolish and vnkinde. No name of hers; vnles the brookes relent To heare her name, and Rhodanus vouchafe 625 To raise his moystned lockes from out the reedes, And flow with calme alongst his turning bounds: No name of hers, vnles Zephyrus blow Her dignities alongst Ardenia woods; Where all the world for wonders doo await. 630 And yet her name; for why Angelica: But mixt with Medor, not Angelica. Onely by me was lovd Angelica, Onely for me must hue Angelica. I finde her drift, perhaps the modest pledge 635 Of my content, hath with a secret smile And sweet disguise restraind her fancie thus, Figuring Orlando vnder Medors name: Find drift ( faire Nymph) Orlando hopes no lesse. He spyres the Roundelayes. 640 Yet more are Muses masking in these trees, D2v Framing their ditties in conceite lines, Making a Goddesse in despite of me, That haue no other but Angelica. Shep: (aside} Poore haples man, these thoughts 645 containe thy hell. Orlando reades this roundelay. Angelica is Ladie of his hart, Angelica is substance of his ioy,

35 [II, i) Angelica is medcine of his smart, 650 Angelica hath healed his annoy. 04: Ah false Angelica What haue we more? Another Let groues, let rockes, let woods, let watrie springs, The Cedar, Cypresse, Laurell, and the Pine, 655 Joy in the notes of loue that Medor sings, Of those sweet lookes Angelica of thine. Then Medor in Angelica take delight, Early, at morne, at noone, at euen and night. 04: What, dares Medor court my Venus? 660 What may Orlando deeme? Aetna forsake the bounds of Sicily, For now in me thy restresse flames appeare, Refusd, contemnd, disdaind: what worse than these? Orgalio. 665 Org: My Lord. D3 04: Boy, view these trees carued with true loue knots, The inscription Medor and Angelica: And read these verses hung vp of their loues. Now tellme, boy, what dost thou thinke? 670 Ong: By my troth, my Lord, I thinke Angelica is a woman. On: And what of that? Ong: Therefore vnconstant, mutable, hauing their loues hanging in their ey-lids; that as they are 675 got with a looke, so they are lost againe with a wink. But heres a Shepheard, it may be he can tell vs news. 04: What messenger hath Ate sent abroad, With idle lookes to listen my laments? Sirra, who wronged happy Nature so, 680 To spoyle these trees with this Angelica? Yet in her name (Orlando) they are blest. Shep: I am a shepheard swaine, thou wandring Knight, That watch my flockes, not one that follow loue. 685 04: As follow loue? Why darest thou dispraise my heauen, Or once disgrace or periudice her name? 36 [II, Is not Angelica the Queene of loue, Deckt with the compound wreath of Adons flowrs? 690 She is. Then speake, thou peasant, what is he that dares Attempt to court my Queene of loue? Or I shall send thy soule to Charons charge. Sh: Braue knight, since feare of death inforceth still 695 In greater mindes submission and relent: D3v Know that this Medor, whose vnhappie name Is mixed with the faire Angelicas, Is euen that Medor that inioyes her loue. Yon caue beares witnes of their kind content. 700 Yon meadowes talke the actions of their ioy. Our Shepheards in their songs of solace sing, Angelica doth none but Medor loue. Oil. Angelica doth none but Medor loue? Shall Medor then possesse Orlandos loue? 705 Daintie and gladsome beames of my delight, Delicious browes, why smiles your heauen for those That wandring make you proue Orlandos foes? Lend me your plaints, you sweet Arcadian Nimphs, That wont to waile your new departed loues: 710 Thou weeping floud, leaue Orpheus waile for me, And Titans Neeces gather all in one Those fluent springs of your lamenting teares, And let them flow alongst my faintfull lookes. Shep: (aside) Now is the fire late smothered in suspect, 715 Kindled and burnes within his angrie brest. Now haue I done the will of Sacrepant. Oil: Foemineum seruile genus, crudele, superbum: Discurteous women, Natures fairest ill, The woe of man, that first created cursse; 720 Base female sex, sprung from blacke Ates loynes, Proud, disdainfull, cruell and vniust: Whose words are shaded with inchanging wiles, Worse than Medusas, mateth all our mindes, And in their harts sits shameles trecherie 725 Turning a truthles vile circumference. D4 0 could my furie paint their furies forth,

37 [II, For hels no hell compared to their harts, Too simple diuels to conceale their arts. Borne to be plagues vnto the thoughts of men, 730 Brought for eternall pestilence to the world. Oh femminile ingegno, de tutu mali sede, Come ti volgi e muti facilmente, Contrario oggetto pro prio de la fede!

Oh infelice, o miser chi ti crede! 735 Importune, superbe, dispettose, Prive d'amor, di fede, e di consiglio, T emperarie, crudeli, inique, ingrate, Per pestilenza eterna al mondo nate.

Villaine, what are thou that followest me? 740 Org: Alas my Lord, I am your seruant Orgalio. On: No, villaine, thou art Medor that ranst away with Angelica. Org: No by my troth my Lord, I am Orgalio, Aske all these people else. 745 On: Art thou Orgalio? tell me where Medor is. Org: My Lorde, looke where he sits. On: What, sits he here, and braues me too? Shep: No truly, Sir, I am not he. On: Yes villaine. 750 He drawes him in by the leg. Ong: Help, help, my Lord of Aquitaine. Enter (The) Duke of Aquitaine, and souldiers. D4v Org: 0, my Lord of Aquitaine, the Count Orlando is run mad, and taking of a shepheard by the 755 heeles, rends him as one would teare a Larke. See Where he comes with a leg on his necke. Enter Orlando with a leg. On: Villaine, prouide me straight a Lions skin, Thou seest I now am mightie Hercules: 760 Looke wheres my massie club vpon my necke. I must to hell, to seeke for Medor and Angelica, Or else I dye. You that are the rest, get you quickly away, Prouide ye horses all of burnisht gold, 765 Saddles of corke because Ile haue them light, 38 For Charlemaine the Great if vp fl armes. And Arthur with a crue of Britons comes To seeke for Medor and Angelica. So he beat eth them all in before him. Manet Orgalio. 770 Enter Marsillus. Org: Ah my Lord Orlando. Mar: Orlando, what of Orlando? Org: He, my Lord, runs madding through the woods, Like mad Orestes in his greates rage. 775 Step but aside into the bordring groue, El There shall you see ingrauen on euerie tree, The lawlesse loue of Medor and Angelica. 0 see, my Lord, not any shrub but beares The cursed stampe that wrought the Counties rage. 780 If thou beest mightie King Marsillus, For whom the Countie would aduenture life: Reuenge it on the false Angelica. Mar: Trust me, Orgalio, Theseus in his rage, Did neuer more reuenge his wrongd Hyppolitus, 785 Than I will on the false Angelica. Goe to my Court, and drag me Medor forth, Teare from his brest the daring villaines hart. Next take that base and damnd adulteresse, (I scorne to title her with daughters name: ) 790 Put her in rags, and like some shepheardesse, Exile her from my kingdome presently. Delay not, good Orgalio, see it done. Exit Orgalio. Enter a souldier with Mandricard disguised. How now, my frend, what fellow hast thou there? 795 Soul: He sayes, my Lord, that hee is seruant vnto Mandricard. Mar: To Mandricard? It fits me not to sway the Diademe, Or rule the wealthy ReaImes of Barbarie, 800 To staine my thoughts with any cowardise. Thy master bravde me to my teeth, He backt the Prince of Cuba for my foe, For which nor he nor his shall scape my hands. Ely No, souldier, thinke me resolute as hee. 805 39 CIL Man: It greeues me much that Princes disagree, Sith blacke repentant followeth afterward. But leauing that, pardon me gracious Lord. Mar: For thou intreatst and newly art arrivd, And yet thy sword is not imbrewd in blood, 810 Vpon conditions I will pardon thee; That thou shalt neuer tell thy master Mandricard, Nor anie fellow soldier of the campe, That King Marsilius licenst thee depart: He shall not thinke I am so much his frend, 815 That he or one of his shall scape my hand. Man: I swear my Lord, & vow to keep my word. Mar: Then take my banderoll of red, Mine, and none but mine shall honor thee, And safe conduct thee to port Carthagene. 820 Man: But say, my Lord, if Mandricard were here What fauor should he finde or life or death? Mar: I tell thee, frend, it fits not for a King To prize his wrath before his curteisie. Were Mandricard the King of Mexico • 825 In prison here, and cravde but libertie; So little hate hangs in Marsillus breast, As one intreatie should quite race it out. But this concernes not thee, therefore farewell. Exit Marsilius. 830 Man: Thankes & good fortune fall to such a king, As couets to be counted curteous. Blush, Mandricard, the honor of thy foe disgraceth thee. Thou wrongest him that wisheth thee but well. E2 Thou bringest store of men from Mexico 835 To battaile him that scornes to iniure thee, Pawning his colours for thy warrantize. Backe to thy ships, and hie thee to thy home, Bouge not a foote to aid Prince Rodamant, But frendly gratulate these fauors found, 840 And meditate on nought but to be frends. Exit.

Act III, Scene i {The Woods near the Castle of Marsilius'. Enter Orlando attire like a mad-man.

40 CIII, : Oil: Woods, trees, leaues; leaues, trees, woods: tria sequuntur tria. Ho Minerua, salve, Good morrow how doo you to day? Tell me sweet Goddesse, wilt 845 Ioue send Mercury to Calipso to let mee goe? Will he? why then hees a Gentleman euerie haire of the head on him. But ho, Orgalio, where art thou boy? Org: Here, my Lord, did you call mee? Oil: No, nor name thee. 850 Org: Then God be with you. Orgalio proffers to goe in. 04: Nay, pree thee good Orgalio stay, Canst thou not tell me what to say?

Org: No, by my troth. 855 04: 0, this is, Angelica is dead. Org: Why then she shall be buried. On: But my Angelica is dead. Org: Why it may be so.

Orl: But shees dead and buried. 860

Ong: I, thinke so. E2v 04: Nothing but I thinke so, and it may be so. He beateth him. Org: What doo ye meane, my Lord?

04: Why, shall I tell you that my Loue is dead, 865 and can ye not weep for her? Ong: Yes, yes, my Lord, I will. Oil: Well, doo so then. Orgalio. Ong: My Lord?

Oil: Angelica is dead. 870 Orgalio cries. Ah, poore slaue, so, crie no more now. Ong: Nay, I haue quickly done. Orl: Orgalio.

Org: My Lord? 875 04: Medors Angelica is dead. Orgalio cries, and Orlando beats him againe. Org: Why doo ye beat me, my Lord? Oil: Why slaue, wilt thou weep for Medors Angelica?

thou must laugh for her. 880 Org: Laugh? yes, Ile laugh all day and you will. 41 Oil; Orgalio. Org: My Lord? Oil; Medors Angelica is dead. Org: Ha ha ha ha. 885 Oil; So, tis well now. Org: Nay, this is easier than the other was. Oil; Now away, seek the hearb Moly, for I must to hell, to seeke for Medor and Angelica. E3 Org: I know not the hearb Moly ifaith. 890 Oil: Come, Ile lead ye to it by the eares. Org: Tis here my Lord, tis here. Orl: Tis indeed, now to Charon, bid him dresse his boat, for he had neuer such a passenger. Org: Shall I tell him your name? Exit [Orgalioj. 895 Oil; No, then he wil be afraid, & not be at home. Enter two Clownes (Tom and Ralph]. Tho: Sirra Rafe, and thoult goe with me, Ile let thee see the brauest mad man that euer thou sawst. Rafe: Sirra Tom: I beleeue twas he that was at 900 our towne a sunday, Ile tell thee what he did, sirra: he came to our house, when all our folkes were gone to Church, and there was no bodie at home but I, & I was turning of the spit, and he comes in, & bad me fetch him some drinke. Now I went and fetcht him 905 some, & ere 1 came againe, by my troth he ran away with the rost-meate spit and all, & so we had nothing but porredge to dinner. Thomas. By my troth that was braue, but sirrha, he did so course the boyes last sunday: and if ye call 910 him mad-man, heel run after you, & tickle your ribs so with his flap of leather that he hath as it passeth. They spie Orlando. Rafe: Oh, Tom, looke where he is, call him madman, 915 Tom: Mad-man, mad-man. Rafe: Mad-man, mad-man. E3v Oil.' What saist thou, villaine? He beateth them. So now you shall be both my Souldiers. 920 42 Tom: Your souldiers, we shall haue a mad Captaine then. Or/: You must fight against Medor. Raf: Yes, let me alone with him for a bloody nose.

On: Come then and Ile viue you weapons strait. 925 Exeunt omnes.

Act III, Scene ii (An Open Place in the Woods]. Enter Angelica like a poore woman. An: This causeles banisht from thy natiue home, Here sit Angelica and rest a while, For to bewaile the fortunes of thy loue. 930 Enter Rodamant and Brandemart with Souidlers. Roda: This way she went, & far she cannot be. Brand: See where she is, my Lord, speak as if you knew her not. 935 Ro: Faire shepherdesse for so thy fitting seemes, Or Nymph for lesse thy beauty cannot be: What, feede you sheepe vpon these downes? Ange: Daughter I am vnto a bordering Swaine, That tend my flocks within these shady groues. 940 Rode: Fond gyrle, thou liest, thou art Angelica. Brand: I, thou art shee, that wrongd the Palatine. Ange: For I am knowne albeit I am disguisde, Yet dare I turne the lie into thy threte,

Sith thou reportst I wrongd the Palatine. 945 E4 Brand: Nay then thou shalt be vsed according to thy deserts. Come, bring her to our Tents. Rode: But stay what Drum is this? Enter Orlando with a Drum, fOrgalio, Tom, Ralph], and

souldiers with spits and dripping-pans. 950 Br: Now see, Angelica, the fruits of all your loue. Orl: Souldiers, this is the Citie of great Babilon, Where proud Darius was rebated from: Play but the men and I will lay my head, Weele sacke and raze it ere the sunne be set. 955 Clowne: Yea and scratch it too, March faire fellow frying-pan. Or/: Orgalio, knowst thou the cause of my laughter? Org: No by my troth, nor no wife-man else. 43 CM, Oil: Why, sirra, to thinke that if the enemie were 960 fled ere we come, we wilt not leaue one of our own souldiers aliue, for wee two will kill them with our fists. Rafe: For comel, lets goe home againe, heele set Probatum est vpon my headpeece anon. 965 Oil.' No, no, thou shalt not be hurt, nor thee, Backe souldiers, looke where the enemie is. Tom: Captaine, they haue a woman amongst them, Orl: And what of that? 970 Tom: Why, strike you downe the men, and then let me alone to thrust in the woman. E4v On: No, I am challenged the single fight, Syrra, ist you challenge me the combate? Brand: Franticke companion, lunatick & wood, 975 Get thee hence, or else I vow by heauen, Thy madnes shall not priuiledge thy life. Orl: I tell thee, villaine, Medor wrongd me so, Sith thou are come his Champion to the field, Ille learne thee know I am the Palatine. 980 Alarum: They fight, Orlando kills Brandemart, and all the rest flue but Angelica (and Orgalio). Org.. Looke, my Lord, heres one kild. Oil.' Who kild him? Org: You, my Lord, I thinke. 985 Oil.' I? No, no, I see who kild him. He goeth to Angelica and knowes her not. Come hither gentle sir, whose prowesse hath performde such an act, thinke not the curteous Palatine will hinder that thine Honour hath archieude. Orgalio fetch me a sword that presently this squire may 990 be dubd a Knight. Ange: (aside) Thankes, gentle Fortune, that sendes mee such good hap, Rather to die by him I love so deare, 995 Than live and see my Lord thus lunaticke. Org.. (giving a sword) Here my Lord. 44 [III, 04: If thou beest come of Lancelots worthy line, welcome thou art, Kneel downe, sir Knight, rise vp sir Knight, 1000 Here take this sword, and hie thee to the fight. Fl Exit Angelica {with the sword]. Now tell me Orgalio, what dost thou thinke, Will not this Knight proue a valiant Squire? Ong: He cannot chuse being of your making. 1005 04: But wheres Angelica now? Ong: Faith, I cannot tell. 04: Villaine, find her out, Or else the torments that Ixion feeles, The rolling stone, the tubs of the Belides. 1010 Villaine, wilt thou finde her out? Org: Alas, my Lord, I know not where she is. 04: Run to Charlemaine, spare for no cost, Tell him Orlando sent for Angelica.

Ong: Faith, Ile fetch you such an Angelica as you 1015 neuer saw before. Exit Orgalio. 04: As though that Sagittarius in his pride, Could take braue Laeda from stout Jupiter? And yet forsooth, Medor, base Medor durst Attempt to reue Orlando of this loue. 1020 Sirra, you that are the messenger of Ioue, You that can sweep it through the milke white path That leads vnto the Senate house of Mars. Fetch me my shield tempered of purest steele, My helme forgd by the Cyclops for Anchises sonne, 1025 And see if I dare not combat for Angelica. Enter Orgalio with the Clowne {Yom] drest lyke Angelica. Ong: Come away, and take heed you laugh not.

Cl: No, I warrant you, but I thinke I had best go 1030 backe and shaue my beard. Fly Org: Tush, that will not be scene. Cl: Well, you will giue me the halfe crowne ye promist me. Org: Doubt not of that, man. 1035 Cl: Sirra, didst not see me serue the fellow a fine

45 [III, Ed tricke, when we came ouer the market place? Org: Why, how was that? Cl. Why, hee comes to me, and said; Gentlewoman, 1040 wilt please you take a pint or a quart? No Gentle- woman, said I, but your frend and Doritie. Org: Excellent: come, see where my Lord is. My Lord, here is Angelica. 04: Has thou saist true, its she indeed; How fares the faire Angelica? 1045 Cl: Well, I thanke you hartely. 04: Why, art thou not that same Angelica, Whose hiew as bright as faire Erythea That darkes Canopus with her siluer hiew? Cl: Yes forsoorth. 1050 04: Are not these the beauteous cheekes, Wherein the Lilies and the natiue Rose Sit equall suted with a blushing red? Cl: He makes a garden plot in my face. 04: Are not, my dere, those radient eyes, 1055 Whereout proud Phoebus flasheth out his beames? Cl: Yes, yes, with squibs and crackers brauely. 04: You are Angelica? Cl: Yes marry am I. 04: Wheres your sweet hart Medor? 1060 Cl: Orgalio, giue me eighteen pence, & let me go. F2 04: Speake strumpet, speake. Cl: Marry sir, he is drinking a pint or a quart. On: Why strumpet, worse than Mars his trothlesse loue. 1065 Falser than faithles Cressida: strumpet thou shalt not scape. Cl: Come, come, you doo not vse me like a gentlewoman; and if I be not for you I am for another. Oil: Are you? that will I trie. He beateth him out. Exeunt omnes. 1070

Act IV, Scene i (The Camp of the Twelve Peers of France). Enter the twelue Peeres of France, with drum and trumpets. 46 [IV, Org: Braue Peeres of France, sith wee haue past the bounds,

Whereby the wrangling billowes seeke for straites 1075 To warre with Tellus, and her fruitfull mynes: Sith we haue furrowd throgh those wandring tides Or Tyrrhene seas, and made our galleys dance Vpon the Hyperborian billowes crests,

That braues with streames the watrie Occident: 1080 And found the rich and wealthie Indian clime, Sought too by greedie mindes for hurtful! gold. Now let vs seeke to venge the Lampe of France, That lately was eclipsed in Angelica. Now let vs seeke Orlando forth our Peere, 1085 Though from his former wits lately estrangd, Yet famous in our fauors as before. And sith by chance we all encountred bee,

Lets seeke reuenge on her that wrought his wrong F2v Names. But being thus arrivd in place vnknown, 1090 Who shall direct our course vnto the Court, Where braue Marsillus keepes his royall State? Enter Marsillus and Mandri card like Palmers. Org: Loe here, two Indian Palmers hard at hand Who can perhaps resolue our hidden doubts. 1095 Palmers, God speed. May Lordings, we greet you well. Or: Where lies Marsillus. Court, frend? canst thou tel? Mar: His Court is his campe, the Prince is now in armes. 1100 Turpin: In armes? Whats he that dares annoy so great a King? Man: Such as both loue & furie doth confound, Fierce Sacrepant, incenst with strange desires, Warres on Marsillus, and Rodamant being dead, 1105 Hath liuied all his men, and traitor-like Assailes his Lord, and louing soureraigne. And Mandricard who late hath been in armes, To prosecute reuenge against Marsillus, Is now through fauors past become his frend. 1110 Thus stands the state of matchles India. 47 CIV, iJ 0 g: Palmer, I like thy braue and breef discourse, And couldst thou bring vs to the Princes campe, We would acknowledge frendship at thy hands.

Mar: Ye stranger Lords, why seeke ye out Marsilius? 1115 04: In hope that he whose Empire is so large, Will make both minde and Monarchic agree.

Mar: Whence are you Lords, and what request F3 you here? Names: A question ouer-hautie for thy weed, Fit for the King himselfe for to propound. Man: 0 sir, know that vnder simple weeds The Gods haue maskt, then deeme not with disdain To answere to this Palmers question, 1125 Whose coat includes perhaps as great as yours. 0 g: Hautie their words, their persons ful of state, Though habit be but meane, their mindes excell. Well Palmers know that Princes are in India arrivd Yea euen those westerne princely peeres of France, 1130 That through the world aduentures vndertake, To find Orlando late incenst with rage. Then Palmers sith you know our stiles and state, Aduise vs where your King Marsillus is. Mar: Lordings of France, here is Marsilius, 1135 That bids you welcome into India, And will in person bring you to his campe. 0g.' Marsillus, and thus disguisd? Mar: Euen Marsilius, and thus disguisd.

But what request these Princes at my hand? 1140 T urpin: We sue for law and justice at thy hand, We seeke Angelica thy daughter out; That wanton maid, that hath eclipst the ioy Of royall France, and made Orlando mad. Mar: My daughter, Lords, why shees exude, 1145 And her grieud father is content to lose The pleasance of his age to countenance law. Oh: Not onely exile shall await Angelica, But death and bitter death shall follow her, F3v

Then yeeld vs right Marsillus, or our swords 1150 Shal make thee feare to wrong the Pieres of France. 48 [IV, i) Mar: Wordes cannot daunt mee, Princes, bee assurde. But law and justice shall ouerrule in this,

And I will burie fathers name and loue. 1155 The haples maide bannisht from out my Land, Wanders about in woods and waies vnknowne, Her if yee finde with furie persecute, I now disdaine the name to be her Father. Lords of France, what would you more of me? 1160 0 ger: Marsillus, wee commende thy Princely minde, And will report thy justice through the world. Come, Peeres of France, lets seeke Angelica,

Lest for a spoile to our reuenging thoughts. 1165 Exeunt omnes.

Act IV, Scene ii (A Grove). Enter Orlando like a Poet (and Orgaliol. Orl: Orgalio, is not my loue like those purple coloured swans, That gallop by the Coach of Cynthia? 1170 Ong: Yes marry is shee, my Lord. Orl: Is not her face siluerd like that milke-white shape, When Ioue came dauncing downe to Semele?

Org: It is my Lord. 1175 Orl: Then goe thy waies and clime vp to the Clowds.

And tell Apollo that Orlando fits, F4 Making of verses for Angelica. And if he doo denie to send me downe

The shirt which Deianyra sent to Hercules, 1180 To make me braue vpon my wedding day; Tell him Ile passe the Alpes, and vp to Meroe, (I know he knowes that watrie lakish hill) And pull the harpe out of the minstrels hands,

And pawne it vnto louely Proserpine, 1185 That she may fetch the faire Angelica. Ong: But my Lord Apollo is a sleepe & will not heare me, On: Then tell him he is a sleepy knaue: 49 [Iv, ii) But sirra let nobody trouble mee, for I must lie 1190 downe a while and talke with the starres. (Lies down and sleeps]. Enter Fidler (Tom]. Org.. What, old acquaintance? well met. Fidler. Ho, you would haue me play Angelica againe, would ye not? 1195 Org: No, but I can tell thee where thou mayest earne two or three shillings this morning, euen with the turning of a hand. Fidler: Two or three shillinges? tush, thou wot cossen me, thou, but an thou canst tell where I may 1200 earne a groate, Ile glue thee sixe pence for thy paines. Org: Then play a fit of mirth to my Lord. Fid: Why, he is mad still, is he not? Org: No, no, come play. 1205 F4v Fidler: At which side dooth he vse to giue his reward? Org: Why, or anie side. Fidler: Doth he not vse to throw the chamber pot sometimes? T would greeue me he should wet my 1210 fiddle strings. Org: Tush, I warrant thee. He (the Fiddler). playes and sings any odde toy, and Orlando wakes. Orl: Who is this, Shan Cutterlero? hartely wel- 1215 come, Shan Cutterlero. Fidler: No sir, you should haue said Shan the Fidideldero. On: What, hast thou brought me my sword? He takes away his fiddle. 1220 Fidler: A sword? No, no, sir, thats my fiddle. Orl: But dost thou think the temper to be good? And will it hold, when thus and thus we Medor do assaile? He strikes and beates him with the fiddle. 1225 Fidler: Lord, sir, youle breake my liuing. You told me your master was not mad.

50 [IV, ii) On: Tel me, why hast thou mard my sword? The pummells well, the blade is curtald short. Villaine, why hast thou made it so, 1230 G1 Fidler: 0 Lord, Sir, will you answere this? He breakes it about his head. Exit Fidler. Enter Melissa with a glasse of Wine. Orgalio, who is this? 1235 Orga: Faith, my Lord, some old witch, I diinke. Mel: 0, that my Lord woulde but conceit my tale, Then would I speake and hope to finde redresse. Or/: Faire Polixena, the pride of Illion, 1240 Feare not Achilles ouer-madding boy, Pyrrus shall not, &c. Sounes, Orgalio, why sufferest thou this old trot to come so nigh me? Orga: Come, come, stand by, your breath stinkes. 1245 On: What, be all the Trogians fled, Then giue me some drinke. Mel: Here Palatine, drinke, and euer be thou better for this draught. On: Whats here? the paltrie bottle that Darius 1250 quaft? Hee drinkes, and she charmes him with her wand, and (he) lies downe to sleepe. Else would I set my mouth to Tygres streames, And drinke vp ouerflowing Euphrates, 1255 My eyes are heauie, and I needs must sleep. Melissa striketh with her wande, and the Satyres enter with musicke and plaie round about him, which done, they staie, he awaketh and speakes. What shewes are these that fill mine eies 1260 With view of such regard as heauen admires, To see my slumbring dreames? Skies are fulfild with lampes of lasting ioy, That boast the pride of haught Latonas sonne, He lighneth all the candles of the night. 1265 Nymosene bath kist the kingly Ioue,

51 [IV, And entertaind a feast within my brains, Making her daughters solace on my brow, Mee thinks I feele how Cinthya tunes conceites Of sad repent, and meloweth those desires 1270 Which phrensies scares had ripened in my head. Ate Ile kisse thy restlesse cheeke a while, And suffer vile repent to bide controll. He lies downe againe. 0 vos Silvani, Satyri, F aunique, deaeque, 1275 Nymphae Hamadryades, Dryades, Parcaeque potentes! 0 vos qui colitis lacusque locosque pro fundos, Infernasque domus et nigra palatia Ditis! Tuque Demo gorgon, qui noctis fata gubernas, Qui regis infernum solium, coelumque, solumque! 1280 Exaudite preces, filiasque auferte micantes; In capute Orlandi celestes spurgite lymphas, Spar gite, qui misere revocetur rapta per umbras Orlandi infelix anima. Then let the musicke play before him, and so • 1285 goe forth. Orl: What sights, what shewes, what fearfull G2 shapes are these? More dreadfull then appeared to Hecuba, When fall of Troy was figured in her sleepe. 1290 Juno, mee thought, sent downe from heauen by Ioue, Came swiftly sweeping through the gloomy aire And calling Fame the Satyres and the nymphs, She gaue them viols full of heauenly dew, 1295 With that mounted on her parti-coloured coach Being drawen with peacockes proudly through the aire, She flew with Iris to the sphere of Ioue. What fearefull thoughts arise vpon this show? 1300 What desert groue is this? How thus disguisde? Where is Orgalio? Orgal: Here my Lord. Orl: Sirah, how came I thus disguisde, 52 [IV, ii) Like mad Orestes quaintly thus disguisd? 1305 Org: Like mad Orestes? nay my Lord, you may boldly iustifie the comparison, for Orestes was neuer so mad in his life as you were. 04: What was I mad? What furie hath inchanted me? 1310 Mel: A furie sure worse than Megera was, That rest her sonne from trustie Pilades. 04: Why, what art thou, some Sybel or some goddesse, freely speake? Mel: Time not affoords to tell each circum- stance? 1315 But thrice hath Cynthia changde her hiew G2v Since thou infected with a lunasie, Hast gadded vp and downe these lands & groues Performing strange and ruthfull strategemes, 1320 All for the loue of faire Angelica, Whome thou with Medor didst suppose plaide false, But Sacrepant had grauen these rundelaies, To sting thee with infecting iealoussie; 1325 The swaine that tolde thee of their oft conuerse, Was seruant vnto Countie Sacrepant, And trust me Orlando, Angelica, though true to thee, Is banisht from the court, 1330 And Sacrepant this daie bids battel to Marsillius The armies readie are to giue assaile, And on a hill that ouerpeeres them both, Stand all the worthie matchless peeres of France Who are in quest to seeke Orlando out. 1335 Muse not at this, for I haue tolde thee true, I am she that cured thy disease: Here take these weapons, giuen thee by the fates, And hie thee Countie to the battell straight. Or: Thanks sacred Goddess for thy helping hand 1340 Thither will I hie to be reuenged. Alarmes. Exit fomnes} 53 Act V, Scene i (A Battle Field]. Enter Sacre pant crowned, and pursuing Marsilius and Mandrecard. Sacre: Viceroyes you are dead, 1345 For Sacrepant alreadie crownd a king, G3 Heauens vp his sword to haue your diadems. Mar: Traitor, not dead, or anie wit dismaide, For deare we prize the smallest droppe of bloud.

Enter Orlando with a scarfe 1350 before his face. Orl: Stay, Princes, base not your selues to cumbat such a dog. Mount on your coursers, follow those that flue,

And let your conquering swoordes tainted in 1355 their blouds. Passe ye for him he shall be combatted. Exit Kings {Marsilius and Mandricard]. Sac: Why, what are thou that brauest me thus?

04: I am, thou seest, a mercenarie souldier 1360 Homely, yet of such haughtie thoughts; As noght can serue to quech th'aspiring thoghtes That burn as doe the fires of Cicely, Vnlesse I win that princely diademe, That seemes so ill vppon thy cowards head. 1365 Sac: Coward? To armes, sir boy, I will not brooke these braues, If Mars himselfe euen from his fine throne, Came armde with all his furnitures of warre.

They fight (and Sacripant 1370 Oh, villaine, thou hast slaine a prince. 04: Then maist thou think that Mars himself Came down to vaile thy plumes, and heaue thee from thy pompe. G3v Proud that thou art, I recke not of thy gree, 1375 But I will haue the conquest of my sword, Which is the glorie of thy diadem. Sac: These words bewraie thou art no base born moore, But by desent sprong from some roiall line, 1380 Then freely tell me whats thy name. 54 [V, On: Nay, first let me know thine? Sas: Then know that thou hast slaine Prince Sacrepant.

Oil: Sacrepant? Then let me at thy dying day 1385 intreate, By that same sphere wherein thy soule shall rest, If Ioue denie not passage to thy ghost, Thou tell mee whether thou wrongst Angelica or no. 1390 Sac: 0, thats the sting that pricks my conscience, Oh, thats the hell my thoughts abhorre to thinke, I tell thee, knight, for thou doest seeme no lesse, That I ingravde the rundelaies on the trees,

And hung the schedule of poore Medors loue, 1395 Intending so to breed debate, Betweene Orlando and Angelica, 0, thus I wrongd Orlando and Angelica. Now tell me, what shall I call they name?

Oil: Then dead is the fatall authour of my ill, 1400 Base villaine, vassall, vnworthie of a crowne, Knowe that the man that strucke the fatall stroke, Is Orlando the Countie Palatine,

Whome fortune sent to quittance all my wrongs. G4

Thou foild and slain, it now behoues me straight 1405 To hie me fast to massacre thy men, And so farewell, thou deuill in shape of man. Exit. Sac: Hath Demogorgon, ruler of the fates,

Set such a baleful period on my life, 1410 As none might end the daies of Sacrepant, But mightie Orlando rivall of my loue, Now holdeth the fatall murderers of men, The sharpned knife readie to cut my threed. Ending the scene of all my tragedie, 1415 This daie, this houre, this minute ends the daics Of him that liude worthie olde Nestors age. Phoebus, put on thy fable suted wreath,

Cladde all thy spheres in darke and mourning 1420 weedes, Parcht be the earth to drinke vp euery spring, 55 tV, Let come and trees be blasted from aboue, Heauen turne to brasse, & earth to wedge of steel

The world to cinders, Mars come thundering 1425 downe, And neuer sheath thy swift reuenging swoorde, Till, like the deluge in Dewcalions daies, The highest mountaines swimme in streames of bloud.

Heauen, earth, men, beast, & euerie liuing thing 1430 Consume and end with countie Sacrepant. He dyes.

Act V, Scene ii [The Camp of Marsilius'.

Enter Marsilius, Mandre card, and twelue peeres G4v with Angelica. Mar: Fought is the field, & Sacrepant is slaine, 1435 With such a massacre of all his men, As Mars descending in his purple robe, Vowes with BeIlona in whole heapes of bloud To banquet all the demie gods of warre.

Mandr. See where hee lies slaughtered without 1440 the campe, And by a simple swaine, a mercenarie, Who brauely tooke the combat to himselfe, Might I but know the man that did the deede, I would, my Lord, eternize him with fame. 1445 0 ger: Leauing the factious countie to his death, Command, my Lord, his bodie be conuaid Vnto some place as likes your Highnes best, See, Marsilius, poasting thorough Affrica, We haue found this stragling girle Angelica, 1450 Who for she wrongd her loue Orlando Chiefest of the Westerne peeres, Conuersing with so meane a man as Medor was, We will haue her punisht by the lawes of France, To end her burning lust in flames of fire. 1455 Mar: Beshrew you, lordings, but you doe your worst. Fire, famine, and as cruell death,

56 {V, II) As fell to Neros mother in his rage. Angelica. Father, if I may dare to call thee so, 1460 And Lordes of France come from the Westerne seas. In quest to finde mightie Orlando out, H1 Yet ere I die let me haue leaue to say, Angelica held euer in her thoughts, 1465 Most deare the loue of Countie Palatine: What wretch hath wrongd vs with suspect of loue, I know not I, nor can accuse the man: But by the heauens whereto my soule shall flue, Angelica did neuer wrong Orlando. 1470 I speake not this as one that cares to hue, For why, my thoughts are fully malecontent, And I coniure you by your Chivalrie, You quit Orlandos wrong vpon Angelica. Enter Orlando with a scarfe before his face. 1475 Oliuer: Strumpet, feare not, for by faire Mayas sonne, This day thy soule shall vanish vp in fire, As Semele when Juno wild the trull, To entertaine the glorie of her loue. 1480 04: Frenchman, for so thy quaint aray imports, Be thou a Piere, or be thou Charlemaine, Or hadst thou Hector or Achilles hart, Or neuer daunted thoughts of Hercules, That did in courage far surpasse them all, 1485 I tell thee, sir, thou liest in thy throate, The greatest braue transalpine France can brooke, In saying that sacred Angelica, Did offer wrong vnto the Palatine: I am a common mercenary souldier, 1490 Yet for I see my Princesse is abusd Hlv By new come straglers from a forren coast, I dare the proudest of these western Lords To cracke a blade in triall of her right. Mandr: Why, foolish hardie daring simple groome, 1495 Follower of fond conceited Phaeton: 57 [V, ill Knowest thou to whom thou speakst? Mar: Braue souldier for so much thy courage These men are princes, dipt within the blood saies Of Kings most royall, seated in the West, 1500 Vnfit to accept a challenge at your hand. Yet thankes that thou wouldst in thy Lords defence Fight for my daughter, but her guilt is knowne. Ang: I, rest thee souldier, Angelica is false,

False, for she hath no triall of her right: 1505 Souldier, let me die for the misse of all. Wert thou as stout as was proud Theseus, In vaine thy blade should offer my defence: For why, these be the champions of the world, Twelue Peeres of France that neuer yet were foild. 1510 On: How Madam, the twelue Peeres of France? Why, let them be twelue diuels of hell: What I haue said Ile pawne my sword To scale it on the shield of him that dares

Malgrado of his honor combat me. 1515 Oliuer. Marrie, sir, that dare I. Yar a welcome man, sir. Turpin: Chastise the groome (Oliuer) & learne him know, We are not like the boyes of Africa. 1520

On: Heare you, sir: You that so peremptorily H2 bad him fight, Prepare your weapons for your turne is next, Tis not one Champion that can discourage me,

Come, are yee ready? 1525 He fighteth first with one, and then with another, and ouercomes them both. So stand aside, and Maddam, if my fortune last it out, Ile gard your person with twelue Pieres of France. 0 g: (aside] Oh, Oger, how canst thou stand & see

a slaue 1530 Disgrace the house of France? Syrra, prepare you, For angry Nemesis sits on my sword to be reuenged. Ong: Well, saide, Frenchman, you haue made a

58 [V, ii) goodly oration: But you had best to vse your sword better, lest I beswinge you. 1535 They fight a good while and then breathe. Or: How so ere disguisd in base or Indian shape, Oger can well discerne thee by thy blowes, For either thou art Orlando or the diuell. On: (taking off his said]. Then to assure you that I am not diuel, 1540 Heres your friend and companion Orlando. Oger: And none can be more glad than Oger is That he hath found his Cosen in his sense. Oh: When as I felt his blowes vpon my shield, My teeth did chatter and my thoughts conceiude, 1545 Who might this be if not the Pallatine? Turpin: So had I said, but that report did tell, H2v My Lord was troubled with a lunacie. 04: So was I, Lordinges: but giue mee leaue a while. 1550 Humbly as Mars did to his Paramour, So to submit to faire Angelica. Pardon, thy Lord, faire saint Angelica, Whose loue, stealing by steps into extremes, Grew up suspition to a causeles lunacie. 1555 Angelica: 0 no, my Lord, but pardon my amis, For had not Orlando lovde Angelica, Nere had my Lord falne into these extreames, Which we will parle private to our selues: Nere was the Queene of Cypres halfe so glad, 1560 As is Angelica to see her Lord, Her deare Orlando settled in his sense. Orlando: Thankes, my sweete loue. But why stands the Prince of Affrica, And Mandrecarde the King of Mexeco, 1565 So deepe in dumps when all reioyse beside? First know, my Lord, I slaughtred Sacrepant, I am the man that did the slaue to death, Who frankely there did make confession, That he ingravde the Roundelaies on the trees, 1570 And hung the schedules of poore Medors loue,

59 LV, Entending by suspect to breede debate, Deepely twixt me and faire Angelica: His hope had hap but we had all the harme, And now Reuenge leaping from out the seate, 1575 Of him that may command sterne Nemesis, Hath powrde those treasons iustly on his head. H3 What faith my gratious Lord to this? Marsilius: I stand amazde, deepe ouerdrencht with ioy, 1580 To heare and see his vnexpected ende, So well I rest content, yee Pieres of France, Sith it is provde Angelica is cleare, Her and my Crowne I freely will bestow, Vpon Orlando the County Palatine. 1585 On: Thanks, my good Lord, & now my friends of France, Frollicke, be merrie, we wil hasten home, So soone as King Marsillus will consent, To let his daughter wend with vs to France, 1590 Meane while weele richly rigge vp all our Feete, More braue than was that gallant Grecian keele, That brought away the Colchyan feece of gold. Our Sailes of sendall spread into the winde, Our ropes and tacklings all of finest silke, 1595 Fetcht from the natiue loomes of laboring wormes, The pride of Barbarie, and the glorious wealth, That is transported by the Westerne bounds: Our stems cut out of gleming Iuorie, Our planks and sides framde out of Cypresse wood, 1600 That beares the name of Cyparissus change, To burst the billows of the Ocean Sea, Where Phoebus dips his amber-tresses oft, And kisses Thetis in the daies decline, That Neptune prowd shall call his Tryons forth, 1605 To couer all the Ocean with a calme: So rich shall be the rubbish of our barkes, H3v Tane here for balls to the ports of France, That Charles himselfe shall wonder at the fight. Thus, Lordings, when ourbankettings be done, 1610 60

[V, And Orlando espowsed to Angelica, Weele surrow through the mouing Ocean,

And cherely frolicke with great Charlemaine. H3v

FINIS.

C. The Edward Alleyn Manuscript

[The fragment inserted at the foot of fol. 262 belongs here (Greg) ) 595 lhma of the glorious wayne Part of ) ewe of Daphnes excellence F. 262 596 f morne, faire bewty of the even llando languishing in loue lye groues, whereas the nimphes 5 600 ince laugh to see the Satyres playe ls Orlandos faith vnto his loue [II, id 602 l she thes lawdes / sweet flora bost thy flowers seek she for shade, spred cedars for her sake 604 kinde Clora make her couch, fair cristall springs 10 605 washe you her Roses, yf she long to drinck oh thought, my heauen/ oh heauen that knowes my thought 607 smyle: (for) ioy in hir, that my content hath wrought.

610 dwell Orlando what contrarious thoughts are those 15 that flock with doutfull motion in thy minde heauens smile, thes trees doe bost ther somer pride 614 Venus hath graven hir triumphes here beside. 616 shall ensewe. Angelica ah sweet and blessed name 20 life to my life, an essence to my ioye 620 this gordyon knott together covnites ah medor partner in his peerlese lone vnkind and will she bend hir thoughte to chaunge hir name hir writing, foolishe and vnkind 25 no name of hirs, vnlesse the brokes relent 625 to hear her name, and Rhodanus vouchsafe 61 to rayse his moystened locks, from out the Reeds and flowe with calme, along his turning bownds no name of hirs, vnlesse the Zephire blowe 30 629 hir dignityes along the desert woodes, 630 of Arden, wher the world for wonders waights. and yet hit name, for why Angelica but mixt with Medor, then not Angelica only by me was loued Angelica 35 only for me must live Angelica. 635 J fynd hir drift, phappes the modest pledg 636 of my content hath with a privy thought and sweet disguise restrayned her fancy thus 638 shadowing Orlando vnder Medors name 40 639 fyne drift, faire nymphe, orlando hopes no lesse 641 yet more are muses maskine in these trees forming their dittyes in conceited lynes making a goddese in despight of me 644 that haue no goddess but Angelica 45 645? sorrowes dwell. 652? what Utaliano diol 660 dare Medor court my Venus, can hir eyes bayte any looke, but suche as must admyre 661 what may Orlando deme 50 Etna forsake the bowndes of Sicelye for why in me, thy restlesse flames appere 664 refusd, contemd, disdaynd, what not, then thus. angry brest my Lord 665 - 6 Argalio 55 come hether Argalio,Vilayne behold these lynes 667 see all these trees, carued with true loue knotts 668 wherin are figured Medor and Angelica. 670 what thinkst thou of it 672 is a woeman F. 262 673-7 and what then some newes 61 678 what messenger hath Ate sent abrode with Jdle looks to listen my lament 680 sirha who wronged happy nature thus to spoyle thes trees with this Angelica 65 yet in hir name Orlando they are blest. 62 III, i) 685 folow loue As follow loue, darest thou dispraye my heauen offer [and fad dusgrace, and preiudice hir name is not Angelica the quene of Love 70 deckt with the conpound wreath of Adonis flowers 691-2 she is, then speak thou peasant what he is that dare attempt, or court my quene of loue of J will send thy soule to Charons charge. 703 & Medors loue 75 Nought but Angelica, and Medors loue shall medor then posesse Orlandos loue 706 danty, and gladsome beames of my delight why feast your gleames on others lust full thoughts 707 delicious browes, why smile your heauen for those 80 that woundring you proue poor Orlandos foes. Lend me your playnts, you sweet Arcadian nimphes that wount to sing your late departed loues. thou weping floud leave Orpheus: wayle for me 710 proud Titans neces gather all in one 85 those fluent springs of your lamenting eyes and let the streame along my faint full looks. 717 of Sa[ )ant Argalio seek me out Medor, seek out the same dogg that dare inchase him with Angelica. 90 be content 732 0 feminile ingegno di tutti mali sede come ti vuolgi et muti facilmente Contrario orgetto proprio de la fede 735 0 infelice, o miser [ credi 95 inportune, superbe, ett dispettose priue d' amor di fede et di Consiglio temerarie, crudeli, inique, ingrate. per pestilenze eterna al mundo nate

748 Vilayne Argalio whers medor what lyes he here 100 dragges and braues me to my face, by heauen Jle tear him in. him pecemeale in despight of these. 757 on his neck 63 [H, i) 759 centers with a mans legg Villayns provide me straight a lions skyne for J thou seest J am mighty Hercules 105 see whers my massy clubb vpon my neck I must to hell to fight with Cerberus 763 and find out medor ther, y(oul Vilaynes or Jle dye shall J doe ah, ah, ah. Sirha Argalio 110 Jle geue thee a spear framd out of } me f )s Jle haue thee be my Launcpres [a] cl{e 764 }the( [probably two lines wanting; then follows the fragment bound up a fol. 271; the other fragment which is inserted in this place really preceding fol. 261) (Greg). 767 ) the grealt F. 271 and Arthur with a crew[ to seek for Medor, and [ follow me, for nowe J{ out away (vi)llaynes f

Orlando. F. 263 solus. 120

843 woodes, trees, leaues, trees, woodes. tria sequentur tria, ergo optimus vir, non est optimus magistratus, a peny for a pott of beer, & sixe pence for a peec of beife.

844 wounde what am J the worse. o minerua 125 salue, god morrow how doe you to day, sweet goddesse now J see thou louest thy vlisses, lonely Minerua tell thy vlisses, will 846 Joue send Mercury to Calipso to lett me

here he goe. 130 harkens. Will he, why then he is a good fellow, nay 847 more he is a gentleman, euery haire of the head of him, tell him J haue bread & beife for him, lett him put his arme into

my bagg thus deep, yf he will eate gold 135 he shall haue it. thre blew beans 64 a blewe bladder, rattle bladder { I rattle. Lantorne & candle light, child god, when he walketh children a god when.

vp & downe but soft you nzinerua, whats a clock, you 140 lye like a ( Jne ( Jvlisses. he sings J am orlandf .1ty pilaf J, ner be so bragg, though you be Mint j. J knowe who buggard Jupiters brayne, when you wer 848 he whistles begotten. Argalio, Argalio, 145 for him, farewell good Minerua, haue me recomended to vulcan, & tell him J would fayne see him daunce a gal yard 849 my lord

I pray the tell me one thing, dost thou not 150 knowe, wherf ore I cald the neither why knowest thou not, nay nothing thou 853 mayst be gonne, stay, stay villayne J tell

856 the Angelica is dead, nay she is in deed 155 lord 858 but my Angelica is dead. 864 my lord 866 he beate. A. and canst thou not weene

867 Lord 160 868 why then begin, but first lett me geue you 870 A. begins to your watchword. Argalio, Angel ( weepe stay ( J. begin to so ( A( [about 15 lines wanting at the foot of this leaf) (greg).

{III, ill

1010 that the belydes, youle fetch me hir F.264

1013 spare no cost, run me to Charlemayne 166 1014 & say Orlando sent for Angelica / away villayne your humor 1117 ah, ah as though that Sagitarr in all his pride

could take faire Leda from stout Jupiter 170 and yet forsooth Medor durst enterprise 1020 to reave Orlando of Angelica syrha you that are the messenger to Jove 65 [III, ii) you that can sweep it thorough the milkewhite pathe that leades vnto the synode howse of Mars 175 fetch me my helme, tempred of azure steel 1025 my shield forged by the ciclopps for Anchises sonne and see yf J dare combat for Angelica. heauen & hell, godes & deuylls whers Argalio. 1043 Angelica 180 ah, my dear Angelica syrha fetch me the harping starr from heauen Lyra the pleasant mynstrell of the sphears that J may chaunce a gayliard with Angelica r(uni me to Pan, bidd all his waternimphes 185 come with ther baggpypes, and ther tamberins. for a woman 1045 howe fares my sweet Angelica? for hir honesty 1047 Art thou not fayre Angelica 190 [wpose browes a[rel faire as faire Jbythia that darks Canopus with her siluer hewe. 1050 art Angelica Why are not these, those ruddy coulered cheeks wher both the lillye, and the blusshing rose 195 1053 sytts equall suted, with a natyue redd a ballad 1055 Are not my sweet, these eyes those sparkling lampes 1056 wherout proud Phebus flasheth fourth his lights 1061? with an othe 200 1062? but tell me false Angelica 1064-5 strunpett worse then the whorish loue of Mars 1066 traytresse surpassing trothlesse Cresida that so inchast his name within that grove whers medor, say me for truth ivher medor is 205 yf Jupiter hath shutt him, with young Ganymede by heauen Jle fetch him, from the heles of Jove inconstant base iniurius & vntrue such strunpetts shall not scape away with life god be with you 210 v(illay(n) wher are my sroluldiours, whers all the campe, the captayns, leutenantes, sargeants icilarkes of the band, corporalles, Lancpresades, 66 gentlemen, mercenaryes, seest thou not medor

standes braving me at the gates of Rome 215 to muche wages. follw me J may goe seek my captaynes out exit. that Medor may not bane Angelica.

Enter. 1168-9 Sirha is she not like those purple coulered swanes 220 1170 that gallopp by the coache of Cinthya 1172-3 her face siluered like to the milkwhite shape 1174 that Joue came daucing in to Cemele tell me Argalio, what sayes charlemayne his nephew Orlando palantyne of fraunce 225 [IV, (i)s poet laureat for geometry.

Orlando F. 265 in the woradj base mynded traytors yf you dare but say Thetis is fayrer then Angelica 230 Jle place a peal of rysing rivers filn your throats did ( J Virgill, Lucan, ovide ( Ennivs, sirha wer not these poetts yes my Lord then Joue trotting vpon proud Bolus shall not gaynesay, but maugre all his boults 235 Jle try with Vulcane, cracking of a launce yf any of the godes mislikes my rondelayes Argalio these be the lockes Apllo turnd to bowes when crimson Daphne ran away for loue loue, whates lone Vilayne, but the bastard of mars 240 the poyson of venus, and yet thou seest J wear badges of a poet laureat. the world 1176 Clyme vp the clowdes to Galaxsia straight and tell Apollo, that orlando sitts making of verses for Angelica 245 yf he denye to send me downe the shirt 1180 that Deainyra sent to Hercules to make me brave, vpon my wedding day Jle up the Alpes and post to Meroe the 67 [IV, watry lakishe hill, and pull the harpe 250 from out the ministrills handes, and pawne 1185 it st[rai]ght to louely Proserpine, that she may fetch me fayre Angelica Vilayne will he not send me it 1187-8? no answerr 255 So Orlando must become a poet no the palatyne, is sent champion vnto the warrs take the Lawrell Latonas bastard sonne J will to flora, sirha downe vpon the grownd 1195 for J must talke in secrett to the starres. 260 doth lye When Joue rent all the welkin with a crake f ye, fye tis a false verse penylesse as how fellow/Wher is the Artick bear late baighted from his poel scurvy poetry a litell to long by force 265 Oh my sweet Angelica, brauer then Juno was but vilayne she converst with Medor. J gke drownd be Canopus child in those arcadyan twins is not that sweet Argalio confesse it 270 stabb the old whore, and send her soule to that diwell Lend me the nett that Vulcan trapt for Mars lh ( strum pett Ven(u)s,Vilaynes what here adoe the court is cald, an nere a Senatour Argalio geue me the chayre, J will be iudg 275 my self e souldioures So sirs, what sayes Cassius, why stabbd he Cesar in the senate (v) howse, (masters run not away) (lest (ye) feelei his furye Why speakes not vilayne, thou peasant, 280 yf thou beest a wandring knight, say who hath crakt a Launce with the to him What sayest; is it for the armour of Achilles, thou doest strive. yf be Ajax shall trott away to troy, geue me thy 285 hand Vlisses it is thyne Armorer. And you fair virgin, what say you Argalio make her confesse all Orlando / F. 266 68

[IV, ii)

1237? haue relei[ 290 1240 ff[airel P[ol lixene[a) the flower of Jliun fear not Achilles ouermadding boy pyrrhus shall not Argalio why sufferest this olde trott, to come so nere me. away with thes rages fetch me the Robe, that prowd

Apollo wears 295 that J may Jett it in the cap ytoll Argalio is medor here, say whiche of these is he / courage for why the palatyne of fraunce, straight will make slaughter

of these daring foes 300 currunt 1246 Are all the troyans fledd, then geue me some drinke, some drink my lord 1254 els will J sett my mouth to Tigris streames 1255 and drink vp ouerflowing Euphrates 305 my lord 1250 This is the gesey shepherdes bottle that Darius Jnchaunt quaft, so, so, so, oh so 1260 what heaunly sights of pleasaunce files my eyes that feed ther pride, with [vlew of such regard 310 as h[e]auen admyres, to see my slombring dreams. skyes are fulfild, with lampes of lasting ioye that hoste the pride, of haught Latonas sonne 1265 who lighneth all the candells, of the night neymoseney bath kist the kingly Ioue 315 and entertaynd a feast with in my braynes making her daughter's solace on my browes. methinks J feel how Cinthias Tyms conceiptes 1270 of sad repent, & meloweth those desires. that frenzy scarse had ripened in my bra ynes 320 Ate / Jle kisse thy restlesse cheek awhile 1273 and suffer fruitlesse passion byde controld. decunbit 1287 What sights, what shapes, what straung concepted dreams 1289 more dreadfull then apperd to Hecuba 325 when fall of troy was figured in her sleeps 1291-2 Juno inethought sent from the heaven by Joue 69 [IV, in 1293 can sweping swiftly thorow the glomye ayre and calling Jris, sent hir straight abrode 1294 to somon fawnes the satyres, and the nimples 330 the dryades, and all the demygodes. to secret counsayle, wher some park past 1295 she gaue them violles, full of heauenly dew. 1296 with that mounted, vpon hir pretty coulered coach 1299 she s/ipt with Jris to the sphear of Joue. 335 what thoughte arise, vpon this fearfull showe when in what woodes, what vncouth grove is this 1301-2 how thus disguysd? wher is Argalio, Argalio. mad humores 1304 say me sir boy, how cam J thus disguysd 340 Like madd Orestes quaintly thus attyred 1308 you are 1309-10 As Jam villayne, termst me lunaticke tell me what furye, bath inchaunted me

1313 what are thou, some sibill, or some godes 345 or what frely say on. 345 Orlando. F. 267 batt( Hath then the fr(e)nzy of Alcumenas ch(il)d ledd fourth my thoughte, with far more egarrage 350 then wrasted in the brayne of phillips sonne when madd with wyne, he practised Clytus fall break from the cloudes, you bruning brondes of Jre that (styrre with still] in the thunderers wrath full fistes and fixe your hideous fyers on Sacrapant 355 from out your fatall tresor yes of wrath you wastfull furyes, draw those eben bowles that bosted lukewarme bloud at Centawres feast to choak with blond the thirsty Sacrapant thorough whom my Clymene and hebe fell 360 thorow whom my spiritts with fury wer sup prest my fanc yes post you vnto Pindus topp their midst the sacred troupes of nimphs inquire for my Angelica, the quene of Loue seek for my Venus, nere Erycinne 365 or in the vale of col(c)hos, yf she sleep. 70

[IV, tell her Orlando, euen hir second Mars hath robd th(el burning hill of Cicelye of all the Ciclops treasors ther bestowed to vendg hir wrongs & stoupe thos haught conceipts 370 that sought my Jelowsye, and hir disgrace Ride Nemesis, vpon this angry steel that thretneth those, that hate Angelica who is the sonne of glory, that consumes exit Orlando, euen the phenix of affect. 375

slaue as he Princes for shame, vnto your royall cam pes {17, 1352-3 base not your selves, to combatt such a dogg follow the chase, mount on your coursers straight 1354-5 manage your spears, and lett your slaughtring 380 be taynted, with the bloud, of them that flee 1357 from his passe ye, he shall be combated wit hine 1360 J am thou seest, a cuntry servile swayne homely attired, but of so hawty thoughts 385 as nought can serue to quench the aspiring flames that scorth as doe the hers of Cicelye Vnlesse J win that princly diademe 1365 that semes so ill, vpon thy cowardes head 1371? a king 390 1372 Then mayst thou deme, some second mars from heauen is sent, as was Amphitrios foster sonne to vale thy plumes, and heave the crowne from a 1375 proud what thou art, J wreke not of thy gree as Lam pethusas brother from his coach 395 prauncing, & ( J one went his course and tombled from Apollos chariott so shall thy fortunes, and thy honor fall 1376 to proue it, Jle haue the guerdon of my sword which is the glory of thy diademe 400 1381 thy name 1382 ffirst thyne Orlando F. 268 1384 Sacrapant 71 [V, i)

Then lett me, at thy dying day intreat 405 by that same sphear, wherin thy soule shall rest yf Joue deny not passage to thy ghost 1389-90 thou tell me, yf thou wrongst Angelica, or no 1399 thy name

Extinguish proud tesy phone those brandes 410 fetch dark Alecto, from black phlegeton or Lethe waters, to appease those flames that wrath/nil Nemesis bath sett on fire 1400 dead is the fatall author of my yll

vassall, base vilayne, worthlesse of a crowne 415 knowe that the man, that stabd the dismall stroke is Orlando the palatyne of fraunce whom fortune sent, to quittaunce all thy wrong 1405 thou foyld & slayne, it nowe behoues me dogg to hye me fast, to massacre thy men. 420 Exeunt

1480 hir loue ffrench man for so thy quaint aray imports beest thou a peer, or beest thou Charlemayne or hadest thou hectors, or Achilles harts

or neuer daunted thoughte of hercules 425 1485 the infusd Metemsuchchosis of them all J tell the sir thou liest with in thy throte the gretest braue Cisalpine faunce can brook in saing that sacred Angelica

did offer wrong vnto the palantyne 430 1490 J am a slavishe Indian mercenary yet for J see, the princesse is abusd by newcome straglers from an vncooth coast J dare the proudest, of the westerne Lords

to crack a blade, in tryall of hir right. 435 1510 foyld 1511-2 Twelue peres of fraunce, twelue divylles, whats that what J haue spoke, ther J pawne my sword to seale it, on the helme, of him that dare

1515 Malgrado of his honor combatt me 440 1520 Lords of Jndia 1521-2 You that so proudly bid him fight 72 CV, out with your blade, for why your turne is next tis not this champion, can discorage pugnant 445 N. victus You sir that braued your {c}hevalry wher is the honor of the howse of fraunce to doe ffaire princesse what J may belongs to the wittnes J well haue hanseld yet my sword 450 now sir you that will chastyce when you meet bestirr you french man, for Jle taske you hard Oliuer victus Provide you lordes, determyne who is next

pick out the stoutest champion of you all 455 they wer but stiplings, call you these the pers 1528 hold madam, and yf my life but last it out Jle gard your person with the peires of fraunce 1532? by my side [you)

1533-4 . So sir you haue made a goodly oration 460 but vse your sword better, lest J well 1535 beswing you

F. 269

pugnant by my faith you bane done pretily well, but

sirha french man, thinck you to breath, come 465 fall to this geer close, dispatch for we must bane no parle 1541 0 victus Orlando 1542-3 Ogier sweet cuss gene me thy hand my lord

and say thast found the county Palatyne 470 1548 Lunacye So was J Lordes, but geue me leave a while humbly as mars did to his paramour when as his god head wrongd hir with suspect

1552 so to submitt to faire Angelica 475 vpon whose louly Roseat checks me semes the cristall of hir morne more clearly spredes then doth the dew vpon Adonis flower. faire nimphe, about whose browes, sitte cloras pride

& Clisias bewty trip pes about thy looks 480 73 [V, ii) 1553 pardon thy Lorde, who perst with Jelowsie darkened thy vertues, with a great ecclipse pardon thy Lord faire saynt Angelica whose loue stealing by steppes into extremes

grew by suspition to causlesse Lunacye 485 1562 in his 1563 Thanke sweet Angelica, but why standes the prince of Africa and Mandrycard the king of mexico so deep in dumpes, when all reioyse besides. 490 Palatyne And that my leig Durandall hath averd agaynst my kinsmen, and the peires of france, 1567 next know my lord J slaughtered Sacrapant

J am the man, that did the slave to death 495 who falsely wronged Angelica and me for when J stabd the traytor to the hart and he lay breathing on his lates gaspe he frankly made confession at his death

that he in gravd the Rondelays on the trees 500 1571 and hung the scedule, of poor Medors loue entending by suspect, to bred debate deeply twixt me, and fair Angelica his hope had happ, but we had all the harme

and now revendg, leaping from out the seat 505 1576 of him, that can comaund, sterne Nemesis hath heapd his treasons, iustly on his head.

honor the F. 270 1586-7 Thanks Angelica for her but now my Lordes of fraunce frolick my frendes 510 and welcome to the courts of Africa courage companions, that haue past the seas furrowing the playnes of nepture with your keles to seek your frend, the county Palatyne you thre my Lordes J welcome with my sword 515 the rest braue (braue gentlemen my hart & hand what welth with in the clime of Africa what pleasures longst the costs of mexico Lordings comaund, J dare be hold so far 74 [V, El

with Mandrycard & prince Marsilius 520 the pretious shrubbes, the ( I & mirh the fruits as riche as Eden did aford whatsoeuer is faire, & pleasing Lordings vse, & welcome to the county Palatyne or none 525 The (anikes Affrike vicroye for the Lordes of fraunce 1588 and fellow mates be merry, we will home as sone as pleaseth king Marsilius to lett his daughter passe with vs to fraunce meane while wele richly rigg vp all our fleet 530 1592 more braue, then wer t{ho}s(e keles

[the fragment forming fol. 271 belongs at the foot of fol. 262, where it will be found printed above) * (Greg)

I am especially indebted to the following materials: 1. W. W. Greg (ed.), Henslowe Papers (London: A. H. Bullen, 1909), pp. 156-171. Reprinted with annotations also in his 2. , Two Elizabethan Abridgements: The Battle of Alcazar and Orlando Furioso (Oxford: Malone Society Extra Volume 1922), pp. 125-366. 3. J. C. Collins (ed.), The Plays and Poems of Robert Greene (Oxford: Clarendon Press, 1905), I, 266-278.

D. Explanatory (Variorum) Notes

Lines Notes 7 Taprobany / the classical and Italian name commonly employed by the Elizabethan writers for Ceylon (Collins). 9 plaies on the Seas / the short line points either to cutting or corruption (Greg). 11 Imbalsde his trophees / referring to Strabo's Geographica, III, 5 an elaborate dissertation on the Pillars of Hercules (Collins). 12 Tanais / the Don river ( WGD). 13 Inuirons = Environs (Dyce). 16 Sith / since. 17 leueld / "level" = to aim at; to deal frankly. 19 Censure/ judgment (Dyce). 75 26 Cairye and Babylon / Babylon is the name of the old Roman fortress of Cairo, not Alexandria as Grosart says (Dyce; Greg). 29 manth / a term in falconry; to accustom to man; to make trac- table; to tame (Collins; Dickinson; Dyce). 32 Where/ the antecedent of Where is missing (Greg). 34 Tilt / contest. 37 Curats / Cuirasses (Collins; Dyce). 43 fauours sparkling / in the distance would hardly enrich the land: sprinkled or showered would give the sense, or even sparkling fauours, however clumsy (Greg). 50 lone= Jove / Jupiter, the chief god of Romans (SDM). 52 Regiment / dominion (Dickinson; Dyce). 53 froward / disobedient. 63 the plot Hesperides / = the "daughters of Evening"; the goddesses who guarded the golden apples given by Gaia to Hera at her marriage to Zeus (PCMD); here as elsewhere improperly used as the name of a place (Collins; Dickinson; Dyce). 63 plot / a small area. 64 Ile / Isle (Dickinson). 65 Luld= Lulled / caused to sleep or rest. 65 Telegone= Telegonus (Dyce); Greene uses "Telegone" in his Groatsworth of Wit, 1592 (Grosart, XII, 139) in the sense of patricide (Greg). 66 Venus tread a daintie step / "Venus tred't with daintie step" (Greg). 73-76 Northeast as far as is the frosen Rhene,/ Leaning faire Voya crost vp Danuby,/ As hie as Saba whose inhaunsing Streames,/ Cuts twixt the Tartares and the Russians: / These four lines, with slight variations, occur in George Peele's Old Wives Tales, 1591 (Ma- lone Society Reprints, 11. 1072-75) in the form: "For thy sweete sake I have crost the frozen Rhine; Leaning fair Po, I said'd up Danuby, As far as Saba, whose enhauncing streams, / Cut twixt the Tartars and the Russians (Dickinson; Dyce). 74 Voya/ Volga (Collins). 75 Saba / Sheba (Vulgate form in Parker's Bible and the Geneva version (I Kings, X, 1). It was formerly supposed to lie in Ethiopia (Greg). 78 Pirothous for his Proser pine / Greene has confounded Proserpine with Hippodameia (Collins); Greg disapproves it; Pirothous is the son of Ixion and Dia, the daughter of Deioness; King of Lapithae; Proserpine is daughter of Jupiter and Ceres (SDM). 76

84 Margarets= Margarites / pearls (Dickinson). 84-85 More bright of hew than were the Margarets,/ That Caesar found in wealthy Albion,/ In Ciceronis Amor Greene says, "amongst many curious pearls, I found out one orient margarite richer then those which Caesar brought from the Westerne shores of Europe" (Grosart, VII, 145-146; Collins; Dyce). 87 on/ of (Collins). 87 Thetis / sea-goddess; daughter of Nereus and Doris (PCMD). 90 what I dare, let say the Portingale / "Portingale" is a common form for Portuguese, both as an adjective and as a substantive (Collins) 94 Caluars and Magars / "Calvars" is a corruption for "Carvels,"

"Carviles," or — Carveils"; "Magar" may be a ship or fleet com- manded by a magari (Collins). 95 rebated / French rebattre= beat back (Collins; Dickinson; Dyce). 96 And sent them home ballast with little wealth / an allusion to the recent repulse of the Spanish Armada (Dickinson). 107-111 The Nimph of Mercurio . . . / the Chloris of 1. 316, probably referred to in Lodge and Greene's A Looking Glasse for London and England, 1594 (ed. Collins, 11. 73-74), as "The louely Trull that Mercury intrapt within the curious pleasure of his tongue;" and in Greene's Francesco's Fortune, 1590 (Never Too Late, Part II, Grosart, VIII, 214) : "Clitia Phoebus, and Cloris eye / Thought none so faire as Mercurie" (Dyce 2); from Ariosto's Orlando Furioso, Canto XV, Stanza 57: "Mersurio al fabbro poi la rete invola, / Che cloride pigliar con essa vuble, / Cloride bella che per l'aria vola / Dietro all Aurora all apparir del sole, &C" (Collins) 109 Aurora /Roman goddess of the dawn (PCMD). 110 And sprinkles . . . / In England's Parnassus (1600) this passage is quoted with the variations, "And sprinkling," or "Doth sprinkle" (Dyce) ; "Besprinkles" (Collins). 117 hoysed / "hoise" is the original verb from which the common "hoist" is a corruption (Collins). 118 flawes / blasts (Dickinson; Dyce). 130 That hath suspition in the Palatine / "suppicion" in the sense of fame or reputation, i.e., that which creates suspicion or envy (Collins) 130 in/ of (Greg). 131 Durandell / recurs in AM 492 as Orlando's sword (Greg). 143 awrie / amisse.

77 146 like of whom thou please / The insertion of "of" with "like" and "dislike" is common in Elizabethan English; Cf. Greene's Or- pharion, Grosart, XX, 64: "I dislike of her disdainful crueltie" (Collins). 150 Andromache / wife of Hector, prince of Troy, and by him mother of Astyanax (PCMD). 151 Priam / King of Troy at the period of the Trojan War and husband of Hecuba (PCMD). 153 Must / [I) must (Greg). 155 deigne / to stoop. 161-162 The worst of these men . . / The worst of these men [are) • . . (Greg). 164 the bastard brat of Mars / Cupid describes himself as "a brat, a bastard and an idle boy" in Tancred and Gismund, I, i (the Son of Mars and Venus) (Collins). 167 nonsutes = nonsuit / a judgment against a plaintiff for his failure to prosecute his case or inability to establish a prima facie (self- evident) case. 168 and 204 maugre / in spite of. 173, 188, and 231 To braue / to threaten, menace, bully (Collins ) . 175 giglot / a lewd, wanton woman (Collins; Dickinson). 176 Menelaus / king of Sparta, brother to Agamemnon (SDM). 176 her Lord / her (lawful) Lord would restore the defective line (Greg). 180 Anchise /son of Capys and Themis, who was so beautiful that Venus came down from heaven on Mt. Ida to enjoy his company (SDM). 181 And/That (Greg). 182 ruth / remorse. 183 gree / degree (Dyce). 187 Supersedeas / "A supersedeas is a writ in divers cases, and signi- fied in general a command to stay or forbear the doing of that which ought not to be done or in appearance of law were to be done, were it not for that whereon the writ is granted," Cowel's Interpreter (Collins). 188 braue / see 173. 190 parly /a conference. 193-195 Then as did Hector . . . ./ Then as erst Hector . . . . (Greg). 194 Courser /a swift horse. 204 manger/ See 168. 209 dastard / a coward. 78

212 What saies the nightie Mandricard? / We might add thereto (Greg). 215 downes / grudge. 218 Grashoppers / "locusts" (Collins). 223 dare me out / out-brave, not challenge (Greg). 224 constraint / compulsion or pressure. 226 hast= haste. 228 brook / to endure or to tolerate. 231 braue / See 173. 232 beard/ to defy. 232 inskonce / to shelter. 233 hold thee play /keep occupied"; a fencing metaphor (Collins). 235 all his mates / Dyce correctly proposes to omit all (Greg). 239 Trophees was {were). / Dyce, Grosart [and Dickinson) print were silently. I should prefer Trophee (Greg); the former suggestion seems more sensible, however. See wraths (1. 237), armes (1. 238), and Trophees (1. 2 39). 242 At this point, the text breaks down. The lines which summarily wind up the episodes are little more than the remnants of verse. It seems that an adapter has cut the concluding speeches (Greg). 243 Skonce / a small fortification or bulwark, from the old Dutch schantse (Collins). 253 By hooke or crooke / by fair means or foul (Oxford Dictionary of English Proverbs). 255 weltning= weltering / to be soaked in. 257 smother / to smoulder (Greg). 257 Sweet are the thoughts . . . / "Sweet are the thoughts which imagi- nation slowly kindles," i.d., causes to soulder or burn slowly (Collins). 260-263 These lines bear some relation to those in King Leir, 1. 1605 (Malone Society Reprints, 11. 698-701) : "Ile hold thy Palmers staffe within my hand, / And thinke it is the Scepter of a Queene. / Sometime ile set the Bonnet on my head, / And thinke I weare a rich imperiall crowne." King Leir was contemporary with Orlando Furioso (Greg). 262 truchion / a balton or a club. 265 Honor: me thinkes the title is too base / Your Honour is too base (Collins). 267 I these . . . / it refers to what he has been talking about a gesture would be made by a speaker here. 286 newter / neutral.

302 presage / to forbode. 316 fairer then Chloris / from Ariosto's Orlando Furioso, XV, 57-58 (Collins) ; Chloris= Greek goddess, personification of spring; Roman Flora; the spouse of Zephyrus (PCMD). 317 Maya/in Hindu belief, the concept or personified goddess of the illusion and unreality of the material world (PCMD). 318 Vulcan / Roman deity of fire and craftsmanship, identified with the Greek god Hephaestos (PCMD). 321 the second / Dyce unnecessarily adds thing (thus the second thing). 323 prowesse / poniard (Dyce); prowess makes perfectly good sense, for it is antithesis to "poison" (Collins). 335-336 Thrasonicall; Gnathonicall / They are well-known characters in Terence's Eunuchus and references to them are common in the works of Elizabethan writers (Collins; Dickinson). 336-337 lettice fit for his lips / an old proverb: "similes haben labra lac- tucas"; "Like lips like lettice"; "He left such lettice as were too fine for his lips" in Greene's Menaphone, Grosart, V, 145 (Collins). 340 Lupus est in fabula / During the discourse, if the party or subject interveneth and there cometh a sudden silence, it is usually said this (Collins); a wolf is in disguise = Talk of the devil (Cicero). 349 Lacedomonians / Spartans. 349-350 Agathocles / the tyrant of Sicily and Syracuse (WGD). 349-350 the Lacedomonians by Agathocles / Agathocles had nothing to do with the Lacedominians (Collins; Greg). 379 Countie Rossilion / He has no part and is redundant to the cast. No such character appears as a speaker, nor is he mentioned any- where in the text (Greg). 381 burnisht / polished. 382 Latona / the daughter of Coeus, the Titan and Phoebe, mother of Apollo and Artemis by Zeus (PCMD). 386 theefe of Thessaly / classical for "Scotch cattlelifter" (Greg). 387 scud abroad / to run before a gale. 390 girt= gird / to surround. 396 Lycaons son / Callisto, the daughter (not son) of Lycaon and paramour of Jupiter, was changed into a bear and raised to the heavens as Ursa Major, i.e., the Plough (Greg). 408 hunt-vp with a poynt of warre / This expression occurs in the opening scene of another play, Peele's Edward the First: "Ma- trevers, thou / Sound proundly here a perfect point of war / In honour of thy sovereign's safe return" (Dyce); "huntsvp"= "The hunt is up" (NED) = any song intended to arouse in the morn- 80 ing; "a point of war" is a strain of martial music (Collins). 409 fife / a small transverse flute with shrill tone used to acompany the drum. 412-418 French-man between . . . / Either the original was extremely in- volved and several lines are lost, or more likely the passage as we have it is corrupt. Grammar and sense could be restored by reading in 415-47: "Yet well I know . . . That in conceit . . . But are in actions ...' (Greg). 423 Charles welth the welth of . . . / Greg suggests "Charles with the welth," but A makes sense as it is: the welth of . . . is an apposi- tion or a restatement. 426-427 Braue Centynell . . . / The general sense must be: "If nature has implanted in thee courage consonant to thy speech" (Greg). 428 the champion of Andromache / = Hector. Orlando accepts the allusion to the stammering (apparently "blustering") (Greg). 434 no proofe / defence to which he can trust (Collins). 436 Pasht / hurled; dashed into pieces (Collins; Dickinson; Dyce). 436 Typheus =Typhoeus / a huge dragon-like monster with 100 snake-heads; the offspring of Gaia and Tartans (PCMD). 437 the bottonze / the bottome [of the worldl (Greg). 444 trudge / to walk steadily. 450 amaine / in great haste. 459 Ave to his Maiestie / In his Francesco's Fortunes Greene satirizes "Ave Caesar" as it occurs in Marlowe's Edward HI (Dickinson); Ave = hail. 461 shake him off /Dyce wrongly suggests "him from society" (Greg); "secrecie" = "intimate acquaintance" (NED). 480 So firmly is Orlando . . . / Dyce suggests "firm's for firmly is (Dyce); Greg suggests to omit "printed." None of these emendations is necessary. 482 ouer-weening / arrogant; presumptuous. 488 and 620 The knot of Gordion / The knot was tied by Gordius, king of Gordium. But the text may be corrupt if Greene adapted the Greek form (Greg). 492 Seek not vnlesse as . . . / The knot of her love, like the knot tied by Gordian, is so intricate that it cannot be dissolved unless it is severed with the sword; she can only be parted from Orlando by a violent death (Collins). 499 Held loners paines . / "held in account lovers' pains and pining passions" (Greg). 503 clouts / white clothes. 81 504 milk-sops / unmanly man. 512 fancie / love (Dickinson; Dyce). 514 As those that with Achilles lance were wounded / Greene's Cicer- onis Amor Grosart, VII, 109: "Arrows . . . that pierce deep, like to Achilles' launce that did wound and heale" (Collins). 515 Fetcht helpe . . . / Dyce's "deadly-pointed" is feeble; the obvious emendation is to add "again" at the end of the line (Greg). 515 pointed speare / deadly pointed spear (Dyce); the obvious emendation is to add again at the end of the line (Greg). 519 amated / confounded, dismayed or daunted (Collins; Dickinson; Dyce). 522 Mirmydon=Myrmindous / the inhabitants of Thessaly, who ac- companied their chief Achilles to Troy (PCMD). 523 tresses / a long lock of hair. 523 Polixena / the daughter of Priam, King of Troy (SDM). 525 daunt / to dismay. 52 7 Pluto / the son of Saturn and Ops, inherited his father's kingdom with his brothers, Jupiter and Neptune (SDM). 531 quittance / to recompense (v.). 534,543, 556 The progressive feebleness and want of meter in these speeches suggest that they have been merely reconstructed from the necessities of the situation and bear no relation to the original text (Greg); however, Sacripant's Man as a lower-class character could well speak them in prose (Greg). 536 Thus / a connective insertion (Greg). 538-539 As that they trace . . ./ As they trace . . .; the deficiency of meter indicates a corrupted passage (Dyce; Greg). 551 roundelay / simple song with refrains. 553 Fraughted / loaded. 569 And marke thou how I play / Dyce and B emend: "I will play" but it is not strictly necessary (Greg). 576 Oenone / the wife of Paris, a nymph of Mt. Ida. She had the gift of prophecy (SDM). 578 All clad / This should be And clad (unless we were to read Forgetting above) (Greg). I believe the text can remain as it is. 580 Haunting / Haunt in? (Dyce). 582 And to conceipt him with some deepe extreme / to make him form a conception of; i.e., to realize (Collins). 585 Centernell= centinel (Dyce). 587 till/ while (Greg). 592 iarring Orbes, / out of harmony. 82 594 Phlegons course / one of the horses of the sun, Ovid, Meta. morphoses, II, 153-155 (Collins). 595 waine / a four-wheel cart. 595 With this line the AM begins, imperfectly (Greg). 596 Daphne / a daughter of the River Peneus or of the Ladon and Terra; goddess of the earth (SDM). 597 Eeuen / Even = Evening. 599 whereas / where (Collins; Dyce; Greg; Grosart). 602 boast thy pride / The substitution in A of pride for flowers is due to anticipation of the phrase "bost ther somer pride (1. 613) " (Greg) ; "Boast" = to display vaingloriously (NED). 604 Flora / In AM Flora is Clora. A perversion of Chloris (Greek) whom the Roman equated with their Flora (Greg). 605-606 wash ye with roses / with in A is a mere slip for her. The reading of AM may be paraphrased: "Ye fountains, if my love desire to drink, well up and kiss her rosy cheeks as she bends over your crystal waters" (Greg). 608 Smile ioy, / The scribe of AM attempted an emendation, "smyle for ioy in hir." Although he rendered the line unmetrical but restored the original reading and suggested the correct interpreta- tion (Greg). 615 rue / to remorse; to feel sorrowful. 620 Gordion knot / See 488; Gordion is a spelling of the adjective "Gordian"; Greene's Perimedes, 1588 (Grosart, VII, 80). 621 A Medor / Ah! (Greg); Dyce's "one Medor" is not correct. As Greg points out, Orlando expects to find his name coupled with Angelica's until 1. 620. 624 relent / to yield; to soften; to let up. 625 vouchsafe / to permit. 629 Ardenia woods / The Forest of Arden, Thomas Lodge's Rosalynde; Ariosto's Orlando Furioso, I, 77 (Collins); Greg points out that although Collins claims "Ardenia" to be an anomalous form but by a quotation from Peter Heylin's Microcosmus (ed., 1633, p. 234; ed. 1621, p. 131), but this is incorrect. Heylin has Ardenna, not Ardenia (Greg). 631 for why / because (Collins; Dyce). 632 not Angelica / AM prefixes then (Greg). 641 masking / AM's maskine is a mere scribal slip (Greg). 642 Framing / In AM "forming" which seems transposition, but A is correct (Greg).

83 644 other / AM goddess, the change may have been prompted to avoid a repetition (Greg). 648-659 The absence of the roundelays from AM is most instructive, since it shows that they were not learned as portions of the part but read by the actor from the actual scrolls hung up on the stage (Greg). 662 Aetna / See Ate, 1. 678. 664 what worse than these? / makes better sense of a sort. AM's What not, then thus does not appear sensible (Greg). 678 Ate / personification of infatuation; the rash foolishness of blind impulse, usually caused by guilt and leading to retribution (PCMD). 689 Adons flown / either a reference to the flowers which were said to have sprung up when Venus mixed nectar with the blood of the slain Adonis (Ovid, Metamorphosis, X, 731-739) and so anemones or to the gardens of Adonis, which were merely stalks of wheat or barley, cresses, etc. in pots intended to symbolize the briefness of youth (Collins). 692 Attempt to court / A very debased substitute for attempt, or court as in AM (Greg). 693 Charon / ancient Greek underworld deity; son of Erebus, who ferries the shades of the dead in his boat across the river Styx to the realms of Hades (PCMD). 707 brotves / Dyce and Grosart give bowers but this is a mistake. B and Dyce also have "browes" (Greg). 708 wandring / meaning that "wandering with Medor" make your prone Orlandos foes? 711 waile / lamentation. 711 Orpheus / son of Oeagrus, King of Thrace (or of Apollo) and the Muse Calliope (SDM). 712 Titans Neeces / the Heliades, the sisters of Phaton (Ovid, Meta- morphosis, II, 340-366) (Collins). 715 smothered / = smouldered or "smothering" (Greg). 718 Foemineum seruile genus, crudele, superhum: / To be born feminine is to be born a slave, inhuman and haughty; Mantuan's Eclogues, IV, 110-11 (Rolf Soellner, "The Madness of Her- cules & the Elizabethans," Comparative Literature, 10 (1958), 309-324. 722-724 Proud, disdainfull, cruell and . . . mindes / The text is corrupt. Collins inserts "and" after proud to restore the scansion (Greg). 724 mateth / confoundeth (Dyce).

OA 724 Medusa / one of the three Gorgons, daughter of Phorcys and Ceto; she was noted for her charms and the beauty of her hair, which Minerva changed into serpents (SDM). 726 circumference / compass. 729 diuels = devils. 732-739 The first of these lines are from the 117th stanza of Canto XXXVII of Ariosto's Orlando Furioso and the other four from Stanza 121 of the same canto. Greene substituted "de tutti mali sede (the seat of all evils) for the egli dicea (he says) of the original. This has been identified by Dyce, Collins, Greg, and Dickinson; however, none of them provides the English translation. Translation: "0 female mind! how lightly ebbs and flows Your fickle mood, the seat of all evils, aye prone to turn! Object most opposite to kindly faith! Lost, wretched man, who trusts you to his scathe! Despiteous, proud, importunate, and lorn Of love, of faith, of counsel, rash in deed, With that, ungrateful, cruel and perverse, And born to be the world's eternal curse!" [from Lodovico Ariosto, Orlando Furioso, tr. by William Stewart Rose; ed. by Stewart A. Baker and A. Bartlett Giamatti. Indian- apolis: Bobbs-Merrill, 1968. p. 294. Cf. also Lodovico Ariosto, Orlando Furioso ed. by Riccardo Ricciardi. Napoli, Italy: Milano, 1954. pp. 720-7211. 756 rend / to tear. 763 or elsse I dye / "I must to hell to fight with Cerberus, / And find out Medor there or else / I die." A corrupt passage is here supplemented by words from AM (Dickinson). 775 Orestes / son of Agamemnon and Clytemnestra, and brother of Electra and Iphigenia (PCAID). 785 Hypolitus / son of Theseus and Hippolyta; his stepmother Phaedra fell in love with him, and he fled to the seashore, where his horses took fright and rushed among the rocks, breaking his chariot to pieces; he was killed then (SDM). 802 bravde / Dyce suggests proudly or boldly before bravde; Grosart inserts ouer. 818 banderoll / a small ornamental streamer attached to a lance (Col- lins; Dickinson) ; it was also used, through confusion with "band" and "roll," for the twist of livery colours which supports the crest, 85 technically the "wreath." It may simply mean a colored scarf (Greg). 837 warrantize / to warrant or to pledge (Collins). 839 Bouge= Barge / to move aimlessly. 844 tria sequuntur tria / the three follows the three. 846 Ca/ipso / a sea nymph who inhabited the island of Ogygia, upon which Odysseus was wrecked. Calypso was compelled to release Odysseus who longed for his home (PCMD). 852 Proffer / to offer. 888 Moly / See Odyssey, X, 302 and following; a stock reference in Lyly's Euphues (Collins, Dickinson); a fabulous herb having a white flower and a black root, endowed with magic properties, and said by Homer to have been given by Hermes to Odysseus as a charm against the sorceries of Circe (OED). 904 spit / a slender pointed rod for holding meat over a fire. 921 as it passeth / excess; goes beyond bounds; is extraordinary; sur- passeth (Collins, Dyce). 938 these downes?/ "these [Grassy] downes?" to balance Shady Groues (940) (Greg). 940 Shady Groues / See 938. 953 Darius / a noble satrap of Persia, son of Hystaspes, who usurped the crown of Persia after the death of Cambyses. He besieged Babylon and it fell after 20 months (SDM). 955 raze / to level the ground. 965 Probatum est vpon / The heel sets forth; it is agreed upon my head peace anon. 975 wood / Mad, furious (Collins; Dickinson; Dyce). 1000 sir knight, rise vp sir Knight / This should be "Rise up, Sir Knight" (Greg). 1009 lxion / King of Thessaly; son of Phlegias. Jupiter carried him to heaven and placed him at the table of the gods, where he fell in love with Juno. This enraged Jupiter so that he banished him from heaven, and ordered Mercury to tie him to a wheel in hell which forever turned over a river of fire (SDM). 1010 the tubs of Belides / commonly called from their father Danaides, but Ovid, Metamorphosis, IV, 462, calls them, from their grand- father, Belides (Collins). 1017 Sagittarius = Chiron / a Centaur, half man and half horse. Jupiter placed him among the stars, where he appears as Saggitarius, the Archer (SDM). 86 1018 Laeda =Leda / wife of Tyndareus, King of Sparta. She was beloved of Zeus, who visited her in the form of a swan, with the result that she laid an egg, in which were Castor, Pollax, Helen, and Clytemnestra (PCMD). 1020 reue= separate. 1023 Senate/The change of Synode to Senate shows that A did not understand the original. For Synod is an astrological term meaning "conjunction" and Greene uses "synod house" in Ciceronis Amor, 1589, Grosart, VII, 201: "to vnite those loues that Venus in hit Sinod hause hath expreslie countercheckt" (Greg). 1024-25 Purest / a feeble substitute for azure as an epithet of steel. The transposition of shield and helme is clearly wrong in view of Aeneid, VIII, 439 ff. Vergil records the Cyclops forging of the shield for Aeneas (1. 447), but does not mention the helmet (Greg). 1025 Cyclops = Cyclopes / Giants who were so called because they had one round eye in the middle of their foreheads. They were later regarded as assisting Hephaestus at his forge, which lay beneath Aetna or neighboring volcanoes ( (PCMD). 1027 the Clown / Tom (Dickinson) 1047 that same / It is so manifestly absurd that B altered it to that faire (Greg). 1048 Erythea / AM: Ilythia, the Greek goddess of child-birth. 1048-49 faire Erythea / That darkes Canopue . . . / Greene describes "Erycinus" and the temple of Venus in Orpharion, Grosart, XX, 12 seq.; "Canopus" is the star mentioned by Manilius, Astronomy, I, 214; "dark" is to obscure or shadow (Collins) ; Erythea= Erycina, a name of Venus (SDM); daughter of Evening (PCMD); Canopus = a star of the southern constellation Argo, visible in Greece and Egypt (Greg); Makes Canopus= look dark (Dickin- son; Dyce). 1051 beauteons / AM ruddy coulered (Greg). 1055 Are not, my dere, those radient eyes / AM reads, "Are not my sweet, these eyes those sparkling lampes. 1056 Whereout proud Phoebus flasheth out / The substitution of out for fourth is not acceptable after Whereout (Greg). 1057 Squibs / small firecrackers. 1058-63 These lines, containing as they do speeches by Orlando, are proved insertions of A. They include one phrase borrowed from the next speech of AM (1.215, omitted in A) (Greg). 1076 Tellus= "the earth, the world" / personification of the ancient 87 Roman mother and fertility goddess and known as the Bona Dea (PCMD). 1078 galley /a large open rowing boat. 1079 Hyperhorian= Hyperborean / a legendary people believed to live "beyond the north wind" in a land of unbroken sunshine, where they enjoyed continuous happiness (PCMD). 1081 clime / climate. 1121 weed / garment. 1122 propound / to propose. 1180 Deianyra= Deianira / legendary ancient Greek princess who be- came the wife of Heracles after he fought for her with the bull- shaped Achelous, whom he vanquished. She unwittingly gave Heracles the poisoned shirt of the centaur Nessus, causing her husband's death, and killed herself for grief (PCMD). 1182 Meroe / ancient city on the last bank of the Nile (WGD); the Island of Meroe is the district between the Nile, the Atbara, and the Bahr el-Azrak or Blue Nile, east of Khartum (Greg). 1185 Proserpine= Proserpina / Roman name of Persephone; daughter of Zeus and Demeter, and called Kore ("the daughter" or "the maiden") (PCMD). 1193 met / Fiddler is undoubtedly played by Tom, the clown who had before played Angelica (Dickinson). 1200 cossen= cozen = to trick. 1201 groate = groat / a former British coin worth fourpence. 1215 Shan Cuttelero? / "Shan" is the Anglicized Irish for John or Jack (O'Reilly's Irish Dictionary); "Cuttelero" was "Cutter," a cand word for a bully or cut-purse (NED); the term should be "cutterlero"; Orlando calls him "Jack the Cutpurse" (Collins). 1228 Mard / Marr'd or spoiled (Dickinson; Dyce). 1229 pummells / to beat; to pound. 1237 conceit / to apprehend; to take in (Collins; Dickinson). 1239 redresse = redress / compensation for wrong or loss. 1240 Polixena / daughter of Priam, King of Troy (SDM). 1240 Illion / It is only A that gives the Greek form (Illion for Ilion; AM Iliu), which is not uncommon in Shakespeare. It may have been rendered familiar by a medical use of ilion in place of ilium, Groin ( Greg ) 1242 Pyrrus = Pyrrhus = Neoptolemus / King of Epirus, son of Achilles and Deidamia. He distinguished himself in the siege of Troy, and he was the first to enter the wooden horse (SDM). 1242 &C / any nonsense the player chose to utter extempore (Dyce); 88 signifying that the actor could extemporise as he chose; Ad lib., ad libitum would now be the direction (Collins; Dickinson) ; Greg insists, however, that Dyce's revised statement in his second edition is perfectly correct. Dyce (2) says this is what it "sometimes means, in old dramas." Grosart suggests that "perhaps Greene wrote more and the players cut it." The &C must be the compositor's misunderstanding of some symbol used to indicate as much (Greg). 1250 Darius / second King of Persia (SDM). 1250 quaft= quaff / to drink deeply. 1264 boast the pride / "display the glory" (Greg). 1264 Latona = Leto / daughter of the Titans Coeus and Phoebe, and mother of Apollo and Artemis by Zeus (PCMD); Latonas sonne = Phoebus, the sun. 1266 Nymosene= Mnemosyne / daughter of Coelus and Tena, mother of the Muses (SDM); Mnemosyne (Greg). 1268 daughters / refers to the Muses; therefore daughter should have been daughters ( Dickinson; Greg). 1271 Phrensies scares / This can only be an error of the ear for AM's frenzy scarce (Greg). 1275-1284 0 vos Siluani / As emended by the editors, the misprints are as follows: Persaeque for Parcaeque; collectes for colitis; laeosque for locosque; lym pus for lymphas; Orlando for Orlandi; rapta per for raptator; solemque, solumque, caelumque (Dyce; Greg) ; filias . . . micantes for furias . . . minantes (Greg). Translation: Melissa: 0 you Sylvan Deities, Satyrs, Fauns, and Goddesses Nymphs, Wood-nymphs, Driades, and mighty Fates, 0 you who dwell in lakes and deep places, Infernal homes, and the black palaces of Dis: And you Demogorgon who governs the fates of the night, Who rule the underworld, and sun, and earth, and heaven, Hear my prayers, leave your twinkling daughters, Sprinkle celestial waters on Orlando's head, Sprinkle, that Orlando, unhappy soul, Snatched through the shades, may be restored from misery.* t* For this translation I am indebted to both Dr. Robert Lordi, Professor of English at the University of Notre Dame and Dr. Virginia Woods Callahan, Professor of Classics at Howard Uni- versity). 1279 and 1409 Demogorgon / fatal murderer or ruler of the fates (Greg); 89

Name of a mysterious and terrible infernal deity. First mentioned by the Scholiast on Statius in his The bais, IV, 516, as the name of the great nether deity invoked in magic rites (OED). 1289 Hecuba/wife of Priam, King of Troy, and mother of Paris and Hector (PCMD). 1293 And calling . . . / "And calling Iris, sent her straight abroad / To summon Fauns, the Satyrs, and the Nymphs, / The Dryads, and all the demigods, / To secret council; rand their) parle past"; a corrupt passage is here supplemented by 4 lines from the AM (Dickinson). 1299 Iris / Personified Greek goddess of the rainbow and the messenger of the Gods to mankind (PCMD). 1305 Orestes/ See 775. 1311 Megera / one of the 3 fairies (SDM). 1313 Sybel = Sibyl / any of several prophetesses. 1319 gadded= gad / to be on the go. 1320 ruth full / sorrowful. 1366 will /Either will should be would or the speech is incomplete (Greg). 1396 Intending so to breed debate / Intending by suspect . . . (See 1572) (Greg). 1404 quittance all my wrongs / "quittance" means to "requite" (Col- lins). 1405 behoues= behoove / to be necessary; to necessitate; to oblige. 1406 hie / to hasten. 1409 Denzogorgon / See 1279. 1410 bale full / ominous or sinister. 1417 Nestor / son of Neleus and Chloris; grandson to Nepture; a distinguished chieftain in the Trojan War (SDM). 1420 Cladde all thy spheres / "clad" is to "clothe" (Collins); the stars and planets, dependent on the sun for their light (Greg). 1427 Dewcalion—Deucalion / son of Prometheus, who wed Pyrrha (SDM). 1438 Bellona / goddess of war, who prepares the chariot of Mars (SDM). 1447 conuaid / An interesting reminder of the exigencies of Elizabethan stage technique. The scenes represent different localities, but as Sacripant dies at the end of a scene, his body remains on the stage until removed by the best means possible (Dickinson). 1456 Beshrew / to curse. 1476 Maya / in Hindu belief, the concept or personified goddess of the illusion and unreality of the material world (PCMD). 90 1479 Semele / daughter of Cadmus, King of Thebes, and sister of Ino and Agave (SDM). 1479 trull / prostitute. 1496 fond conceited / silly-minded (Dickinson; Dyce). 1496 Phaeton= Phaethon / "the shining one," an epithet of Helios (the sun) (PCMD). 1506 misse / amiss; fault (Dickinson; Dyce). 1515 Malgrado / In spite of; notwithstanding (Collins; Dickinson). 1517 Yar a / Orlando is adapting his language to his disguise (Dickin- son). 1521 peremptorily / arrogantly; decisively. 1543 Cosen= Cousin. 1577 treasons / the reward of his treasons (Greg). 1591 rigge= rig / to equip; to fix up. 1592 braise / splendid (Dickinson; Dyce). 1593 Colchyan= Colchis / of Cholchis, country of Asia famous for the expedition of the Argonauts (SDM). 1594 sendall / "A kinde of Cipres stufle or silke," Minsheu's Guide Into Tongues, 1617 (Collins; Dickinson; Dyce). 1601 Cyparissus change / "Cyparissus" was the name of an ancient town of Phcis near Delphi, the neighborhood of which appears to have been celebrated for its Cypress trees; "change" seems to mean what Cyparissus sends by way of change of barter, that is Cyprus wood (Collins). 1604 Thetis / one of the Nereids; Peleus' wife and mother of Achilles (PCMD); sea-goddess of Nereus and Doris (SDM). 1605 Tryton / sea deity, son of Neptune and Amphitrite (SDM).

91 Appendix Key to Abbreviation

A= Quarto 1, 1594. AM= the Edward Alleyn Manuscript. Arber = Edward Aeber (ed.), A Transcript of the Registers of the Company of Stationers of London 1554-1640 A.D. (1875-1894). B= Quarto 2, 1599. Dickinson = Thomas H. Dickinson (ed.), Robert Greene (1909). Dyce 1 = Alexander Dyce (ed.), The Dramatic and Poetic Works of Robert Greene and George Peele (1861), I, 1-53. Dyce 2 = Alexander Dyce (ed.), The Dramatic Works of Robert Greene (1831). ES =English Studies (Amsterdam, Holland). Greg = W. W. Greg, Two Elizabethan Stage Abridgements (1922). Greg = W. W. Greg, The History of Orlando Furioso, 1594 (1907). HT = Head Title. JEGP =The Journal of English and Germanic Philology. • McKerrow = Ronald B. McKerrow (ed.), Printers' and Publishers' Devices in England and Scotland 1485-1640 (1949). MLN = Modern Language Notes. NED New English Dictionary. N & Q = Notes and Querries. OCCL =T he Oxford Companion to Classical Literature. OED = Oxford English Dictionary. PCMD =Putnanz's Concise Mythological Dictionary. Q1 =A (Quarto 1594). Q2 = B (Quarto 1599)- RT = Running Title. s.d. = Stage direction. s.p. -= Speech prefix. SDM= Short Dictionary of Mythology. SP = Studies in Philology. SR= Stationers' Register. STC = A Short-Title Catalogue of Books Printed in England, Scotland, and Ireland and of English Books Printed Abroad 1475-1640 compiled by A. W. Pollard and G. R. Redgrave (1926). WGD = Webster's Geographical Dictionary. 92