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George chapman's use of the comedy of humours Tyszkiewicz, Rita Marie 1973

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This document is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. George Chapman• s Use of the Comedy of Humou.rs

by Rita Marie 'l'yszklewicz

A Thesis

Presented to tr1e Ci:';1(itiate Comrnittee

in Candidacy for the Degree of

Master of Arts

in English

Lehigh University 1973

-' ,,. This thesis ls accepted and approved 1n partial fulf!,ll:nent of ti1c requirements for the degree of ~ ·- .. •p ,-) ... • ,., jl, f_1: Ma.• .,,J \,i '- ~ '·· . •. J \ .. ""' .,J •

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~- ,; --· Table or Contents

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·•

' ... Abstract

Th!s study ls aealgn~d to rocus attention on George

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dev~lop and advance .,...,.... ,·· ·1,'I,., • ,1,...... ·.-1·' "n~ • '...... ···· ,·.• ,.'"! .J ~

betl1ar1 otiige. The comedies of' Ct1apman \,,hich are discus-

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. \ i '> . I . "'1\·..... -., ,....- · l/·-r n . ".1\./ "·· ...\. I":,,.1 .· ' US e d V ,) h) .. +. c, i. ,.._ ,. / v ,i '- 1 four fluids which the body was be­ lieved to contain: blood, phlegm, choler and melancholy.

It was believed that four types of dispositions developed from an overabundance of one or more humours in a person's system: sanguine, phlegmatic, choleric and melancholic.

Both George Chapman and Ben Jonson, even though basing their theories of humour comedy on this ancient theory, changed it to suit their own purposes. They did not apply literally the physiological theory of the four humours, but, instead, used a metaphorical conception. They re­ garded a humour as an exaggeration of a normal character trait to the point of .absurdity.

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to \'" r 1 t e ex c 1 u s 1 v e l y f o r t }1 e c 11 t 1 d l" c n ' :J t i1 e a t r 1..: , cJ 11 l y his May Day comes near being called a comedy of humours. ln his comedies of humour

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He subordinates everything else to this end. Thus, thls study of Chapman's comedy of humours revolves around the

char1 ac te rs. It investir~ates what distinguishes Chapman's

humour characters f'rom the other characters found in his comedies. This is not an easy task in most cases, since it is often hard to distinguish between Chapman's humour characters and the stock characters which he borrows from the Roman comedies of Plautus and Terence. It is diffi- cult at times to be precise about where the stock ends and the humour begins. Therefore, since most of the emphasis is placed on the revelation of the eccentric behavior of the characters, plot is relegated to a sub­ ordinate position in Chapman's humour comedies. The plot is either rough and sketchy, or it· compliments the humour

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.. cha rac to ra. It ta dtrr1cult ror the characters to be-

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Oeorge Chapman was born 1n either 1559 or 1560 in

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i"'II was ~nown to be one 0' ,.

This would lead one to believe that George Chapman was a

wrote pocm3 and plays for his own personal . . I' ' 'i r ' - • , ·1 -- ) l· p 1e-,. ,._. (_ d c , '-' • 1 1. --- ___ l r , , J ,

since Chapman was the 11 second son". As it turned out,

his older br·other Thomas inherited the bulk of the

family :'ortll!1l:, a11d "youn[~ George had to be content with

one hundr1 ed pounds and t\.;o silver spoons" • 2 Thus, Geo11 ge

Chapman was forced by fate to earn some sort of living for himself.

Educated at Oxford, where he excelled in Greek and Latin, Chapman was well prepared for a career in litera­ ture. As a member of the military service, Chapman .. participated in the Low Country campaigns. He inaugurated his career as a poet, and had his first work, The Shadow of Night, published as soon as he returned from military service in 1594. Chapman's verse did little to relieve his financial worries, though, and he complained a great

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' ; deal about the typo or 11 re that moat poets Mere betng

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Chapman began his career

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promlnc:1t compa.ntcn pcrt'orinln.f: at tl1e pul1llc theat?"es at

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wher~e he \•.'orl

unt11 15S)9. Dur1ng these early years Chapman \·irate his

c o r:1 e ci .L 1...: s : TI1e: 131Lnd Deggar of Alexandr.La

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(1599), which were performed at Henslowe's Rose Theatre.

All Fools was transferred over to the Blackfriars Theatre,

where it was performed by the Children of the Chapel, when Chapman shifted his affiliation after 1599. After 1600, Chapman wrote five more comedies: May Day (1601), The Gentleman Usher (1602), Sir Giles Goosecap (1602), Monsieur D'Olive (1604) and The Widow's Tears (1605), all of which were composed specifically for children's companies, to be acted out at the ' Blackfriars Theatre. He also collaborated with Ben Jonson and John Marston in Eastward Ho (1605), ror which he was imprisoned

-5- along wtth Jonson and Ma:~at·on.

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and perhaps most unread \•Jorl-:. Joi1n J·~t:ats inunortal1:::ed

it in his poem, "On Flrst Lool

Chaprnan ,J1ed on r,1ay 12, 163li. itt tl1e t:lmc of his death,

he was still an impoverished second son with regard to

both his personal life and his Vlor1{. .Even though Chapman is not widely known today and sometimes ignored, he was something of an innovator during his time. And one of his innovations is humour comedy. Humour, from the time of Chaucer, was a term used

·to signify the four fluids which the body was believed to contain: blood, phlegm, choler (or yellow bile), and melancholy (or black bile). These humours were generated in the stomach, liver, heart and brain. Each of the humours was associated with 11 a certain planet, constel-

-6-

·."'-'· • latlon or the z.odt.ae, hours, day, neaaon, color-a, metals,

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1n a pc 1·11,)n I n f->r111• n ,I: c· u. i" In healtt1, thcr~e \.~a.a an equal p:-·oportlon of humours mixed

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believed to be influenced by the positions and motions

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posit.Lons cie\reltJJJed fr"orn ,1n _J\tt.:r'al:Jt1ncia.r1cc oJ' c)ne c)r rnore

humours in a person's system: sangu1ne, phlegmatic, choleric and melancholic. 4

Both Ben Jonson and George Chapman based their theories of the comedy of humours on this ancient theory of humours, but made changes to suit their own purposes.

Their humour comedies" •• • exploited the 'humour' as a ruling and distorting passion that severely unbalanced a personality in one particular direction".5 In Every Man out of His Humour, Ben Jonson defines a "humour" as: Some one peculiar quality Doth so possesse a man, that it ·doth draw All his affects, his spirits, and his powers, 6 In their confluctions, all to runne one way. ·- (GREX.II.105-108)

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,_..,. ,,. q 1 d e s them ,..,.,.~ ~. ,_#-1: - the!r own particular humours. This ls the . , . ~ . . h '· t . ('_ ,t '_) ""'' i . .' ,j; ) .: """'" . .. '--,'-'

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the eccentric behavior of the humour characters, plot ls not an important element in the comedy of humours. The

great extent, since they cannot observe things beyond their own spheres. There is no central conflict or series of actions which involves all of the characters. In a true comedy of humours, there is also very little use of such elements as romance and tragedy. Ben Jonson did much to develop and advance the comedy of humours for the Elizabethan stage. He is usually credited with being the originator of the comedy of humours, and his play, Every Man in His Humour (1598), is acclaimed as the first comedy of humours produ9ed. The play ·conformed s~rictly to Jonson's definition of

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Ben Jonson• s primary lntcreet ln hls comedies or

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various sltuations \tJhich scatter ti,e criaract.cr.. s 1r1 dif­

ferent directions. There 1s no common business v.1hich invol\res all the cha:~acters. In Every Man ln His Humour, Jonson deals with relationships between various types of parents and children and husbands and wives. He also works to expose a number of gulls.9 Every Man out of His Humour contains a confusing mixture of situations, humours and relationships. John J. Enck states, "The whole resembles a series of superior vaudeville skits by comedians who improvise on any theme. 10 Jonson does not apply literally the physiological theory of the four humours; instead he uses a metaphoricalI conception:

-9- ,,

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•, '.).. • I • • ~ ' < • [ ) I. t· I (~ • ,_) t . ' In the: ~r .··:Jr1fluctions, all to runne one \•; cl jr ' This may be truly said to be a Humour. But t h J. t a 11 o o l{ e , 1 n \·; e a r Ln f~ a p }' (; d :·eather , The c a 1J le }1 a t - ·c EL n cl , o r t }1 c L11 r c c - p Ll d '),~ ., 1 ("l ..., .. - ' .J.. l;,. .:. .i. t; J A yard of shooL3 tye, or t}1e r Sv: 1 t :~:e rs r knot On his '.l11 re11ch' garters, should affect a Humourl O, 'tis more then most ridiculous. {Every Man out of His Humour. GREX.II.88-114) Thus, in Jonson's comedies, a humour is an exaggeration of any normal character trait to the point of absurdity. Jonson states his objectives for writing humour comedy in the prologue to Every Man in His Humour:

He rather prayes, you will be pleas 1 d to see One such, to day, as other playes should be. Where neither 'Chorus• wafts you ore the seas;

-10-

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·I .. 'f",, .... ' ., ~ ., t' • •

.i_ *-" ....

l I { . 1·· ,~.'- ('_ • ~ ' . ', ' / ' 1· i . l,, l "O' l,,, ~ . ',,_ .. '1,._;I , IC;.,a: ('} l.. 1 n tt.. m \- , e·1 ( ~ I ,.J ',~ _.._ 'I. ·- ,1 ',.,w(~ •') \.o. n tJ ".• \.., .,.., e .' . . ) 1" ., .. f\ ... ~ ,..,f 1 "'NO •. \. . . ~ ( 1 t •"f .,..~~ .. :. ~• ,i ')c_ "_t\f·-.·,· r ,. . Wh -•' .. • • I i • "" . 1.-. ,l , t)t..: n ' • ' '".__,.. t .._. .. ' , • _...... , t L . . J ...... J. ii ._. • ..... - \.... -~ , ,i, '· • ' . , r- ' ' ' . . -,.,,'r, ~. .. . t ...Ir, ·-. ; .ii; ..,

I -~ _,- • "·. "" f " '· · --- , ... .,., a·· ...... ' ,-1· You, • !(_, .. ,~ u ".J t- , • , C~ \ . rn on s t. L' r !J , rn a y

(Folio Version.13-30) Thus, Jonson depicted life with all of its absurd folly

in a purposel:1 exagccrc1ted n1anner in order to ma1{c: men

aware of their own actions. He attempted to make them realize that they were actually laughing at themselves and their own actions to a certain extent. With regard to Jonson's humour characters, C. G. Thayer states that "what's 1 is' important is to see the humor characters as members of a vast social panorama, as possessors or practitioners of absurd follies which, unchecked, would threaten or destroy the social order".11 In Every Man in His Humour, Jonson spends all of his time displaying the various humours of his characters. Jonson introduces the humours of the characters and cures

-11- vort

. 1 h "' ' ' h ' r~ t'.. f"Q, ~ rt, ., ., '\ 'l' . ii H (,_ P G .1 ,,, ii ,. • ' . ' n >'· (1, ..... ·'

those of all men.

Ev•::l"'/ 1•1an t)Ut -of His Hu,mour 1s very different from

I t.-

1 ·.· ·. ,-)' '1._. ,..r . ' l,,.,,A. ; ' : 1· c r i ·.' · 4 A .,,, ! _7 • a r : .->- 4,.-. r1,it '-s,,;..li ~ ' t · l',, ~, .. _.}' 't)· ~ t', I, c.·.· l' ~-·1· ,,, ... • • "·" ,l,"' t' ,....'-- ,1 j\1·. a· ._ (.. \_.,. r.,.,• "-" ,.. ,

Macllente, comments on the humou1,,s of tl1e oti1er' chc1racters. Jonson ls no longer presenting the harmless version of

_rtrn u•") _·1.... C r··1 a- ~l'I ''.'l 1....r• ...... , y, r ~ C" , .....,. f.':' [ • .• .,., C'} n O _, c .. G e .. t .... a _..-~ v- .::::> I.., ., .. a- ., • , '-- ... c.'l ..L, e d" t· 0 t· h e·· p O .....i n ..Lr _,.. ~~- of absurdity, but the vicious side of human ~olly. All men are corrupt, and it is his purpose to attempt to expose the vices of men in order to purge the characters of their humours. 12 Asper states:

Who is so patient oI' this impious world, That he can checke his spirit, or reine his tongue? Or who hath such a dead vnfeeling sense, That heauens horrid thunders cannot wake? To see the earth, crackt with the weight of sinne, Hell gaping vnder vs, and o're our heads Blacke rau'nous ruine, with her saile­ stretch wings, Ready to sinke vs downe, and cover vs. Who can behold such prodigies as these,

-12- And hllV

,~ ..,+ ,· · "•r {· - · · .. · · , · , · ,, , 1 t. fl !t. i . ,- . • , I,. • ;, · • .i;.. · ,-~., ,-.,A ..< ,. J '· J <".· · t1t f rt· _; ... t 1,, r.· .. r'i. r·1;, , 1'· tt ,f , f ,.J' .l. ' ·'' ' ·. '1.,1 ll ~' .. 'llt ... ifr"

·~··1 .-,-~ ...... f .. ~ , "" or .,. "" .. • ., . ._ I .. t, , • ' t ~ j . V ' .,, ' j ., .. Ii(· ··•" ' ( ' ' ii ( • C- .. ~'"' !II f -. .-*'.- '

• • • •

~~~·, r··~ ...., ."'"! • , "" .. ~

i, ,:. ' ~ •• ,r """I ~ ; I'!' • '· ·• '· '~-- ;. ;I. ... rt·...... "'I ' . ·c·. , ~ , .. • ., ' • • . • '. r i < r ~ • If''\ , ... , ' ' ' • , • ,, 0 W tJ •• -i, •-.. 11 I I ! .,,, - ~-to .,i, I 'll'li-••ti-1:•._•.i-,..' ' '•' / - , j . ' . . ., • "'i · :; ~- ,,, I 'Ii, ...... - - t< •

~ ...... i ( ~ ' ' - 1 .. JJ. ,

•,-"" f~/11~ ,,,. . . .

.f "t "!t , ~- ()'"- )··., ". \ ./' ~ i "" , " '. ~ " ' I • -,. -,. 4 • •• ,,i "? 'I '¥.. i ~ .·," 1 .. ·--..., ... I ' 1 N \ ' ., / ·, t ...,. •·- ~ ,._ · ' ' •. ·' .,. \,/ere I (l 1 Uf)o s 'ci to sa,:/, t l1 e :;; ' !' e zi 11 c~ ,o r r u pt • ( GREX • I I • ~;J- 26 )

Jonson is so lnvolved \11ith the humours ,of tt1(; ci1a1\acters

story line, and the play becomes very confuslnE; at times.

George Chapman also ,,;orked hard to develop and ad­

vance the comedy of humours for the ~llzabethan stage. It was actually Chapman and not Ben Jonson who inaugurated

the comedy of humours. Both Chapman's The Blind Beggar, of Alexandria and An Humorous Day's Mirth appeared prior • to Jonson's Every Man in His Humour. Most of Chapman's work with the comedy of humours comes during his appren- ticeship with public theatres. His first three comedies -- The Blind.Beggar of Alexandria, An Humorous Day's Mirth and All Fools -- are basically comedies of humour, since they deal with the actions of eccentric people. Once Chapman begins to write exclusively for the children's theatre, only his May Da¥ comes near being called a

-13- •• comedy or humourt1. By the t1me that he wr1tea .Str 01ltta

•Q__ -(-_'_t ~-'_- c·3-· t ·• •i \ 1.r_ , .,, ._, t (' • •, 1· ~ / t (';'_: i t ~~ •• _ ,_--_ I. ,.:._ 1.,,L ' _.-ii' _., .t .,> ii 'J '!I- __ ,. ;_" - ,~•·,(' • \ .. _. ~ ~ ~ :f' ·; '1' 'l' ...- ._ ,. ,.j. O f' ~ j. 4 _-. ' - -w._ ... ·• ... ' ·"'"4' ' • W- -,_ ',;·- 'I' l"' --:.. - tJr • J - --·· - -·-· _c•_ -·---'---'-----'""'-- ---· -•-- • ''l'INll"'~l. ! -~·-- ~- • • .. ,

ct1a rac t <.::~a. Chapmnn•s main obJecttve 1n his comedies of humour

is tl1t: ~he-~ ~U- m,)·u~ rh--a- "-,'2:-~' ra-cteflS \.l'i. , .. ·~-:, - • • 7' 'I. ' ...... r·r,.-1-.-,, • ft . • ·1'•1t1... • ii ,.,).-t ,

t.t_ - t·" ·u-· t_·-•y,.,.C (J-- _f ('}~,flp·,,,,~i1·1' ·~ {·'·')-''l'"Ji•(_, .. r (-_ .. f" ~--l-1''"'·"1,u a - V , <• _,I J,;, .., '-! .. l _ 4, i.,,,,. ,,,,,J. " _.,t ,. J ,;/ . , ; i li ,,1' "•-,~•·.j rnu :J !, ·"

'r'::1("'i'1irr.. f1 1 r)'L·lnri Cha ,._ (.... '-"' V \,.,, -• 1-..1 ., .I. "--,• U 'n... ,·1,·~.... ~ Th13 is not an easy

task ln most cases, since lt is often 11ard to d.!.st1nr:t11sh

bett•Jeen Chapman's humour characters and the s toe l( char-

and Terence. Since both types of characters possess one

habit or trait which describes their character, it is difficult to be precise about where the stock ends and the humour begins. Chapman's comedies to be discussed with regard to humour characters are The Blind Beggar of Alexandria, An Humorous Day's Mirth, All Fools, May Day,

Sir Giles Goosecap and Monsieur D1 0live. Chapman's The Gentleman Usher and The Widow's Tears are not included in the discussion, since they are not concerned with the comedy of humours in either their main plot or their sulplots. The main concern of the two plays is romantic tragicomedy, including the types of

-14- charactora and attunt1ona related to tt. The aer1oua . .,,,1,,. ,, ,~n·• 1 1. . t_· ~- ... ~. t-. ~ '-_ .. __ ' ~ .. i:

.,,. q ''ff• 'f·_.,F • .•• , .._ ('- jl~ On f;~· -t~. _':"-_t • "'_·· ·d··.-_ .. .., "-·· ... )"',.,f"\ t·; h- i,,., •• ) • 4 f• - ,f ... ~ "''"' - '·-·* " +.l V

··O n_ t· 'IIr ,:. ;Q' t_' f"i 'l_-_, • "9,. {A 11,,~ -,\""_.-~-_ .. - n· -a·.. 1_.• l:,A t ' 'f_·. _f_ ·{. I! ·_t ~. ' ,· "\i l- t,_ t 1 n '1!" .... '... ,t'*' ! n t 1j,.~ ,.-'. ,:lo.-• ~ ; ~, . ,_.. _" r_i n .J ___ ~ m- -o· -C'" ._ ;;,J 44 _, 9 -,,-_,, • t • ,r .. "t • W ~ ~.. -li V ~· ' ~~ ''"-" ...... :.)'- • I n

revert to the stock

1-·- {"If~ ~ 'f• t. ·~ - 't- *' ·cc,, j r r-. l.,. • o·- ~- ;-, ~·· l,,1 . -- -\• ii It ',;. t.~ c cent r t ,c~ be -

and T}1e 1,J 1 do,,;' G T(.;- a. r-· :; , c i1a .rac t e 1~ l :-:at t rJ r1 ~ n _· . * • , .. t· \1,~• .... • 111 .,.. • ~-"" ·- _, ' '-"-

poln: £1:~ (:rnpl1a3is. Plot and individual situations become impc> !·~'Lant •

II

George Chapman introduced the comedy of humours to

the Engl1sl1 stage, rJrie fly .Ln l1is f lr1 st cornedy, The Blind Beggar of Alexandria. The play deals with both the story of the tragic queen, Aegiale, and the comic disguises and antics of the blind beggar, Irus. The play has sur­ vived only in a mutilated form in which the serious plot has been almost eliminated in favor of the comic plot. Charlotte Spivack states:

In spite of its popularity, or perhaps be­ cause of the lopsided popularity of its farcical subplot, it appeared in print in 1598 in badly mutilated form w·ith only about sixteen hundred lines remaining of what was obviously a much longer stage play. The title page of this version, as published by William Jones, reveals

-15- Ji. ' t. . • , , . , • _.-, • C .j ii ' •t· I ,- • I· •. ,_ ' • ' , ~ ~ ; • ' ' ' " • ', " ,I ll ' "t\.. r· '· ·,. t.. ... ·· ". · ·• '" ' • "'~· " ·· · " • " ' '. , • " • · • · ' + W l .... .-_ ~_ ,9 -, .,""*"' ;; .f , __ ,~ ...,.l ~ ( 4i '· ~ ', s -~·- ~. # ~ ij, :,,,... .,? · · .t;.< ~, -_ f .,,. .·,-, I ....,_ • ~ 1r.., .. • t.;It ~

,,'f .. ,;;~ '" ' , ~ ,, 't/.. " ·., .( "' ~to;'" .• " ' ! • " ·, ,. ) .. i , ·., • , . ,, anc ,. .' t , ( , I • ' • \ ' ( • i ',! • . • ... ~ l) if .. "" f .. -.~~ ... y. t'-t''JI, -~" • --i,j, -¥ 1f" . ~• ·'If, ,-c "' >r :t;. ,, :-- T ~ l :t, - •

"' f .• ~. i '. ! 1' ": ,. " --~ ~ J ·-' ( 'II " ' \ -,Jlt T i ,.. - >tlii,. ~ ,, '' ,, ' ' ' , ' ' . '•, ' + ,,. I ~ t'l ". . ,* ' f • ' . - . - " . • ~ • • - • , i . • • - • , t . • i f • l . i , . . ci t .i r • , ( ., . • .. , " .- C., ... \i- .;_ ... , ,Ill .. jjO •, ji, , • 'a "' --.. • ,.. • -4. " ,ii ,l,c ,. } • j .. If j, ·it .__ ._: ill: _, "" .I...... 4'-: -~7 -"'4 ~ ~ •.!~:f~ ~ ~ ''. ~ ,f

·.", f"t • 1 • ( , 1. '·~ j • ' '.· I • i • '. • • 4 ~ { • ~ • C O.- I .... , - : ii!ii • • ~ ) '"" • ... ~ ~ ~ ~ ~ - •

11 •. ·.·-· .'.·.· ··.,.' y, • ·. .-.I D-. Pl 1 ~I. I • ...... ,-·.• 'l''i...... r:,·_·..- Humc)ur· j .r ..l i• : ..i ta p··.u i t· ··.,II C· ·.,, {!' , . ?11 ,,'. l.i ... ~ h ... • · -f. :f '· r..,t . 1 n Th.. *::_-'"' ~~ .., ·-. •... ;I ·.'ffi'. [ ~ '( r .1.._. * :- * ------i !'t.. o •.""1'.i_. , .~ omn !1-1 ·.} .... '·. Alexandr ir1, ...... , " !it ,11 ~ I1 ,... .r· gi,,.~ 11· t · ,,_i,, ., • •

111 -·, "f..,-+. r··<, • ! "'- ,·· :: 1f 1 f. .· · I • t 0- .. +• ! _/,' ... :, ·,.,.. • _, .. ·1· '' "' {.,,.., .. ~ ~'u. i' {'·'.' t: 1,J .

.. 'l ~, . ~ t " .., ...., ...... - t « ·1 , f • I f f ", • ~ ,., • .. ' • " • ' • I I ·, .. \ ~ ' Ill j 1 • • impc> :-1 e :.J tJ n ;'• J (_ ·- r._ .....,_. ~tc$ ... • .. • • 1, ~" . • 'c V • ' ... < • 4 ._•' ',. A, • • , •. , '"'' V , .. "" does nothing to develop

force1.1 \·,·}1.lcl1 taJ

..... 0 .... •L· 1· 1, 1' ~'l :'_' f • 1' r'i :::l ,.,. "l 1"' • 0.· 'tit::. ,i y_1 most , • c·. ('- , •t1 C~-1. ,i. (_.-, . . r• , -· • '-",-! (.4 f'J- ')'••.. \... (,_. ,. (~ 1.-Jr~ m1-•'~ ,. ,_ '•-~ 0·. n y "' n· t·l..,- Q na 1 t·v pe·· S • - .1. ,.,. T' lU ~·-~ It l .. '. • . .1 ,

humour element to the play. Irus, a maste1 1 of d1Sf~Ll1ses, is able to pass himself off convincingly as four differ­ ent people, each of whom possesses an overabundance of a

different humour. Irus, as the blind t)ect;ar1 1s a for'tune teller whose humour is the love of meddling in the affairs of the other characters. The blind beggar is definitely not a passive man, like his ancestor, the slave of Roman comedy, but is an energetic, meddling manipulator who

constantly contrives plots and situations by which the other characters become entangled purely for his own sport. Irus also appears as Count Hermes, whom he des­ cribes as a "mad-brain count". This disguise he has con­ veniently used for ten summers, and still uses to his advantage whenever the occasion ~alls _for the Count.

.•_•i'ri., •• -16-

, u -

wt.on hu puta on the Count•, gown, hta coetumo, Irua ••·

(1.1.331-:;}B)

r· "\ f!t 't 'l' ii u ~.)~ ·.· J • • • '··(.·.·; v• •''"'

for Irus as beggar to label hlm as the murderer of Prince

1 . ' ' ·'> ' • -ll. - i. r. .,, ...l d • r · I 'l ,. ~ • ~ • J1 t ~ c_) l Do L • \) ,._ '· ' ,_) ,,_ ... _ ,- , •J • 'w- fl" .•• , ... , .. , ..... 11,- "=--'' ,.. Leon, the usurer,

who sc: 11umou i~ ct: n t er !J ll .is

humour causes him to give much grief to h1s bor'ro\.;ers.

A very dishonest man, Leon is constantly trying to alert

his cust{Jrners 1n cJrcler to create n1or1 e h1<...:altl1 for himself.

And f1nally, Irus appears as Duke Cleanthes, a sold.l.er1 whose humour is the desire to seek revenge for the in­ justices that he suffers. He has been exiled from Egypt because of false accusations of having had an affair with Queen Aegiale. His ultimate goal is to claim the kingdom for himself as retribution. Thus, Irus cleverly appears in his various disguises as a display of various humours, and is fairly convincing in his attempt. Chapman does not attempt to do more than introduce the comedy of humours in The Blind Beggar.of Alexandria.

He does not develop the humour character to any great ex­ tent, with the exception of Irus. The play contains merely

-17-

• • • J

----·--··------·------··r-··-···. - -··---·z- ··~ - · ,. .. ._: ,., ...··/ ..•. ;;,.},,~.:::,/\0:'/.r.I~i:9iik\\, .. ,·;:";i;,i ,: \\ '.:t".;,;._, ;;,::: .. ·. .11!$'

a rou,Ji ,drart or thv hwaour concept whtch Chap,aan expanda

111 f ·""' l<; .t:l • "" .... r, Rf!ll,r,t ,-I; t. 1,: .f't. 1 n t • • 1-~' ...- «w ... C * !.•. Y:t·H"" "'• • ~ u •

III

An Humorous. Di:ty•n. M!,rth, probably Chapman's best ex-

ample Chapman

• , · , • ~ ·, ·,, t· , ·· I! . t ·, , • f • 'I ~ t' 1"' " • : ~ · ·, • ~ r ·, \.,• ·r- • ._, S,, * ll . -" .. l. .- • f "-~ " • ~' ' 1 C < -· •'• • ,I •. •,_ • •

pa rt 1 c u la ?· cl ,1~l 'l'iltt p lily

ls a compltcated :3erles ()f drt:1..rnatlc displays lackl:1g a

f~ ] (' ,, l: 't _,." ·1 I ~.,1 -. \ , . (" t) ' ' .. ·: (" .i • · , .. __ L., -- : .. ' '.'" . • ,, * ··"""' ·- '- . t.-,~

acters. klll{) t,

are humour characters are the only thlngs that most of

the characters i1ave 1n common. They rarely become in­

v o l v e d h' 1 t r1 one a r1 o t 11 (.; I1 r o any g re a t ex tent •

The set t.ing of 1\n }fumoru\.l;i l)z.1y rs i·1 Lr1 th is France,

presumably near the court of Lhe 1~rencl1 1

The action of the play all takes place within the course

of one day, a day that will be considered a fair day since it will be spent with "so humourous acquaintance as rains nothing but humour all their lifetime" (11.10-11). It ia a day where observation of the humour characters

takes precedence over everything else, as the entire day is supposed to be spent in the excellent sport. The play deals with three basic situations: (l) Count Labervele, the jealous old hu~band, constantly

-18-

: • /I.fr# ,_ guards hta beaut 1 ru1, young Pur1 tan wt re Plorl lla aga1nat

tho -.,:1ea lf>Ull

,, ··. i • ~.• ( • ~ ., i ~.. ~ ' "'9 : it,' f •. ·~ ' •, ~ (, • i •- ,ict ·• .• 0 .... n,,, ..• f ~ .• ' ·~s· " ;,,, ,.;. 'Y •

•;,.,, .'1t· ·'' r·

•. t·. O'... t)·, i 8 U-,.,. r,.U, : ( .,,I""~. )· the:.. . ,l ,d·.····. iCr."' ..... u nt·. , .. H. ~t ,., * l •.. ( ... r'\ 1... H , • ,. ~. ". * .. ~,. 1 , • h ,,.'li .. t ·.. ,._, \\,,,; •J •·-' t •'-·"" ·- i - "~ ~. '"" ,.,, • ...,,-ai.l/'\,,,, 1· .·"·~J .J~ "·• .·t '-f'.1-Aw~ n.

of he:~ youn.,-: hunband, an,d conutant ly accusct:t }1lm ,of wooing

~, ~ a " .f • .j •. ;., t' r ~ •t .. 111, 4. ... ~ t ·, ·, '1' •. ', ! "! ,, ,. ti , ,, . ', • ~ ~ . " ... m- ·- _-, ~· .. _ li.- :,. ., ;,t • • ,., , :• .. t.--! ,;,.... ~- ~ ,- • ( .. t '._it '--• .\.· t,. ,i, • 'l...,. ii ' •

·1·· ' . •. f ' ' : I , , ..r, ..t' ' f • ~ .., ' ;1 'f\ f • I 1 f ,i ,.·, .... # • '"~ • • ' " 1, • ~ (, • ~ 1 . ' .. -l,_ ~ ,,.) t..J' .• ,. ; ~ •,-_1-· ~ l *.· t, • l' 'Ir, '1 .. f ' , • ~ i \. L/ 'P:. '~ '; ., ,, " ,f, '---· ...... " ... ~ \1-Y ,_. "--· .... ,t_4 ._.- ·~ .;,,. '.!,,_.- • ~ \., ... '=-""' 11-l ~ ~

le ft on the .1 r own, s 1nce tl1e c i1a rric tc r~::1 rnakc no e f !~lJ rt to relate their problems and eccentric behavior to that 0 f tilL' Count Labcrvele's primary in-

idea of guarding his beautiful daughter from unwelcome

suitors that he spends most of his time at the task.

And f~inally, old C(;untess r•:or1 en cannot observe anything beyond the affairs of her young husband.

Thus, Chapman realizes the need for an outside force to entangle the three groups of characters. He, there­ fore,. creates Lemot, the intriguer, to complicate the action of the play by contriving situations which force the characters to exhibit their particular humours and to come together at certain points during the play. Lemot is constantly thinking up pranks and putting them into action.

The action of the play is disconnected just like the eccentric behavior of its humour characters. No

-19- ·

i 1.mportant act1on w·t11eh tnvolvoa all or tho ehara.ctor1

K ".·.t.. 'f • .,,"~ .... ·.t·. ... 1 "'.. • it •.. *'· ..... , l" r·· ;. i J ~ 4lf f!___ ·~- * 'I'' ,..... -1,J'. ~ ·1 ,i ~ ~ _jt 1 r l. .... C fl t ·~· !"11 .•. Y L) •. • •

111 1 ; I • • f • " • " , · t • ( • • '· t • : 1 11 ., ' .• l{ t· ...... 0 ~ .ll iii. I ...... '"!" ~ -"'" • .., 'ii - .i; :;. ,. ":' 111 ~ ,.. \., -· ... ~ ~

the Otl ly

1 1 ,·' •,· . ~ h t • ~ a .. ·'"' ,.. .t • l • \ • • ' ... •. ' ...' " ..1,.. ..• !"' .~ ...• ", ~.. • .. ."• ..... '•' •-~- ;;. ...~ ~ ~, nnc1 ,

• ,., .. ~t· ' ... C ":;' • ~ :•_-;;.. •-., - ,

the characters. Chapman also includes 1n the play char-

+ I ' '.r' '~ '~ t• (" r• 'i a C \,',.,.., 11 ,.} i r 11 as Verone and the Klng, who have nothlng to

cat 1 on s to\,' a r (i ci e v e lo p zn c n t o f' a He al:J,J introduces Blanuel, the man who apes the speech of gen­ tlemen, but suddenly drops him with no prior warning.

Thus, Chaprnar1' s rna.ln ol)JcctL\'C 1n i,n 11l1:1L)~ 1 C)t1s Day's

Mirth is the revelation of the }1urnour c}1aractcr's, and he subordinates everything else in the play in order to

place emphasis on his characters. In the play, he con- trasts the various personalities of the humour characters. Chapman links Count Labervele, Countess Moren and Count Foyes together in an attempt to explore the theme of jealousy. Each one appears as a foil to the other two. Chapman compares male and female reactions to similar situations in the characters Count Labervele and Countess

Moren. A father's reaction is presented by Count Foyes. Chapman also attempts to contract Dowsecer and Labesha

-20-

, I rro• melancholy tn order to emph.aatze the vaat d1 rrer-

J;tlt ,.. ··1·'"'.. •· ~ ~ f"'\, .... ('" •V .n ~. ..,_1 ~'. ii _.: -...- 1.: '.fq:. <-~~· ~/.. 'f ~ •· ,.., •. ...,. c.. ) .fl> ~ r • ..· ;h...... ' ,~ ~t ... 'rl · .. ' ~ ... ' ... ,, "\.,. hi· (;I,".. ·.. ,.. .. i.l ~ .... ·; ..... 1,.;.. "" .. t •

n • ; ·.· T '1·' ' ., '!"t 11! ' 1 t " if .. I " '· ~ ..t.. ~ • • • ' u ,.,J t '·' .. !I "' " ~ .•

,d·_ ·o· .. ·.. # "1 ··t 'I' t; ' ; ,: # • r1 j; r_ • .,_, ~ ·t.-'" 1..-11 J-' J-·'~ \_._ c_ JI "c.!IP' '·..~" '\.-~-- .. ··t·i,). .. ~ "if. ii

the humour characters.

Count La.lJc!'\~cle ls definitely a humour character. . . ~ ,., . ' .. .' ,. ·I' .... ,.. ' - itt i 1 1.,,,- ( He J ~.,, ,- ~-· ~ n 1--4"" " a n ·"~

against all intruders who venture into his home. His

JealtJU3 l1umout' (jrtves him to ti1e point \,,here nothing else

'1 · , Cl ~ j .. , , 1 ' · · ( , • f · , ,. l •- I ,-. I ' C V . .l C ._, .!. .._. t.. d .J "/ • 1l ,. I d u '""

says that t1e t)el1evt:s 1n tiic :31nc1.::rlty and strengtl1 of

... her religious beliefs in themselves, but he also sees Florilla as a human being and, therefore, susceptible to

the nor1 mal ternptat1ons i·.rh1ch t1other all younc fJcople:

Fa 1 I' j_ ;_:; In}r \*Ji .f e, ancl young and cie 1 j_ c ;1 t e, A 1 t 11 () u 8)1 t o o 1"; e 11 [_; l o u s i n t h c p tl r c ~) t s o r t ; But pur~ reli~lon beln~ but mental stuff, And sense indeed all [careful] for ltself, [ 'T]is to be doubted that when an object comes Fit to her humour, she will intercept Religious letters sent unto her mind, And yield unto the motion or her blood.

( i .13-21) But his actions show just how much he actually believes in the sincerity and strength of her religious beliefs. Labervele is also constantly suspicious of Florilla be­ cause he fears that he has made her extremely unhappy by his inability to give her the child for which she l·ongs.

-21-

,. Ho roara th.at ah• -,111 cona1.der hta old ago an the cauaa

!'_-. r_·•- .,.. --~ 1 •·,_,_; ... Y--- i) ~- ti r,_-_ ,,_· jf... flil'i •• ~-- r. or i:I n-'. :.,_J. U '-; i~ -., • -.-· ii _ "'-· \J n #"', """'- it •·'-~..a . ,..: •

.. 1 • t"'il to. . . l * I!,,,

l.

• .. . 'i • When ~ _..,, I I .•. ;._

(11.;?SJ-32)

2 • 0 0 d W111 r C F: a ?' d he r a t l1 0 tl :r.:1 !l i ~ ~ }1 d , Th a t t a. }{ c ~: i1i z : a. t, r1 e; e c an ., an cl no t w11 a t a g C ti 1i ,) \.1 i d •

( 11. 34- 35) Labervele encourages Florilla to accept ti1c Je\tJ,..:.ls and a

velvet hood and to be mer'!~y and en.Joy t11e 11fe ot,. the

court, but he is very discouraged when she accepts.

Count La \te r've le gets so caught up in his humour

that he cannot g:lve Flor1llc:1 tl1e benef.it of the doubt.

He fears the tests of purity and constancy which Lemot proposes for Florilla, since he realizes that her true nature may surface and he will lose her. Again, when Labervele hears the rumor from Labesha that Florilla and Martia are at the private party at Verone's tavern, he immediately rushes over to get her. He does not even make an efrort to see whether she is within her private walk. Labervele is a very submissive man, though, who is very easily subdued by the mere sound of his wife's voice. He accepts anything that Florilla tells him· · ·

-22-

... becauao ha ta I rra !d .or 101 tng her. Wh•n aha reprtaa.nda

• nft_ r__-_ •• __ -- t '"*'". :"'J' (J__ ,-·, .... +J' '-.i. ·-'w' ,,.,, ,- ··n- ma t""' ""- •i. -- ,ftr ,,,.,,. o-_-- h..."" plny_ t· ~ . tl''"" ~-'I\,,. . ntt'.µ-. ·+,,- :_,n- ' 1,_. •t•- ~- •t_ j:) ~._ :?"' t, ,r_-- .. q, ' ... - • 1;. .j: ... ,..., ',Is -_-u•_. . . - 'L, "" -i,,.,, -- g '

uc humc,u r hr1 !l

;F~.... -, .,.~-- .,,. t• ' ' ' 1: ··, ' '!' f 'l-· .. ~- 'i.<1$.\ ·, ' ... ' .... -f • , ...... !f ... -·- ,- * '*- ...~ __ ...,,,_ • ... .._. , • w \...A"' ,. ~ l: \:.Ji ~ "'· 't .1 !1•- ·t · •·r_" tt r__ )- t• '-,.:ii ·-~ ~ ... )' .... .,,. '•-' • ~- j the

·, ,(_' l ",:._, .. ..'~~-1~

Purltr1ns to dress plalnly and renounce matet"lal1t1t1c

r ·,~ l. '~ ·, '~i 11 (j. •,1 • '-,· • ,lj l .! • ) • l.• ',. • to be

a v e ry s e r 1 i..J us -m 1 n ci c ci ;,roman ,.• , r1 o re noun c e s £.1 l l t t·1 e JJ le ci ~3 t.l r c s of life, but underneath it all, Florilla actually longs

for the same pleasures that any other nor.,mal young per-

son \•Jou ld \,;ant •

humour to the surface, as sl1e v 1e\... 's 111m as an agent who can bring these pleasures to her. At the end of the play still confused about her role in life, Florilla re­ sumes her Puritan attire in order that her husband will not discover her hypocrisy. Thus, Chapman throug.h Florilla is satirizing the entire Puritan sect and their particular ideas. Charlotte Spivack states, "Nothing has changed for Florilla: the Puritan hypocrisy remains. 1115 The January/May relationship of Labervele/Florilla is reversed in the Moren family. Countess Moren's jealous humour causes her to be constantly suspicious of

( -23-

- l i-·- ·- •- -1 . \ - ' . '" ,_' ' . .',:-~·.I • ;. ; , ------: • :, ',c·"''",•,,,_'-·,• ------__.. ___------·------~~~ her huaband, alnce aa an old woman, ahe haa little to

J,,,: • , 1.. . (.. I.. .. •. ,., I ~ 1t -. -: f

• ...... 1· . •· • . . · • • · ' . · ( • • '!" ~ ;o<) f"1 " .. ~ C '.'} ·· ,t • I t ~)i ( , •. . f , • U.- rn O ,,.,, C O ?1 ~) .. , (cA • •..- .•, •· r ... l .. (.. ,~ (;..• .,,,1 \ tl n 1.,-Q ge

of her~ Jcalot1s humour, and leads her on lJy dropplng

lit"',. t, .1·· t.=4· i1e r' i1u s banci 's as soc 1 at 1 on \,; 1 ti1 \t,'omen,

with women, but wants him to be with her at all times.

Countc~3~3 I,1(Jr.,en does not even like it \•Jhen her husband

will not be horne f'or' one rncal because }1e \•;ants to attend

the stag dinner at Verone's tavern, and she ls only sat­

isfied \.'Jhen she has secured from Lemot the promise that no women will be present at the dinner. The Countess sternly warns Moren:

Well, heark you, bird, of my word you shall not go, unless you will swear to me you will neither court nor kiss a dame in any sort, til you come home again.

{vii.238-240) When she finds out from Lemot about Maren's association with women at the ordinary, she does not hesitate to go after him. Her husband is so afraid of her reaction to

-24-

.. ,

. I

-·- J ,_. not

_,. ifl_'!: 't• "' ' '. •_' 'J i~ • ·, ' ' • I f ') • ! ' (' 1 ~. ~ r- 1,.,. .j ¥ . ·- '*I' • If I;., .. t·· ll i ,, lil - 'I .. ,. ; 1 1 !~ P !._i_· .. :.·i ".. • p l , · fl i.J.--. !,• ! '," f' ·"_.·. Cc., r1. c.···.. ..t " t • ,;,t o· .. - "- -- '\,,,. l. ., w H ij V - " T " ca ~ J'l t~ C n " . r'

and Lcm,ot..

&he 1s still possessed by her humour. ' ~. ~ •tt ,_ ..._ t C 0. l_ "'; '.• ,.. IL- ,,·~· •., __, ., r .....,_ ... _..1 •· :.a a vlctlm o!' another rorm or the ...... , ' o··-- • t it f , • I '"1 --) • l 'f~ ? i t • •p., • " •, i •? f. • • ; ".· J ea, 1, ; l,4 .-J # J "" f f I :, ·• S, _;. • W ' - "' r,,.. • •.A •-·· va ' j L'

young daugi1 te !' f.fa r't .1 a t c> select

choice. Foyes constantly keeps tract of Martla's act1v-

1t.les, ar1ci h·l1cn he ls not al1le to accompany his daughter,

("'l '·_) . ·,.· .,I 1 r ) C'".,, 0. n - ., • - • • - ' ~<- ,.;J

in-law. He is impressed by Labesha's future wealth and his gentlemanlike qualities. Foyes has great difficulty

con\rLnc Lnr~...__, i'1iar1 t:ia that Labesha is her best choice. He states to Martia:

Come on, fair daughter, fall to your work of mind, and make your body fit to embrace the body of this gentleman's; 'tis art: happy are they, say I.

(111.1-3) Foyes• humour causes him to be persistent in his campaign, and he never actually gives up until the King unites Dowsecer and Martia. Foyes is satisfied with the match, since Dowsecer is both wealthy and a true gentleman. Dowsecer has a melancholy humour; he is portrayed

as the melancholy scholar who is extremely unhappy with the world as it exists. The melancholy man is probably"

; -25-

d ' '

- ·------·· -·-··•···•-•- --~---·-- ...... ,. ... _,. ___ ,•n·•··-·h•'•·---·· •-· - - ·aw "? -- '' ·- ' 7 . -- one or tho aoat eot1110n or t.ho h\uaour typo a. Dow1vcor

t •• C} .,.,, -ft ~ "' .. • ,- ,, - - " .. ,... ..: ..•

t_ jj t_ .. a +f ..., \,._, ·•·-'·_·•

•--.,_• ,, ..._, If,j ~----'l ... h.1u J·'· ··- ~- * "

• ,. ~.. • • <$ ... :" *-_., M f"i'i .- 1 • w ffi f '• ' "' ' l'i ,.. '~ ~ f'-~ J-' ~- , J ,. :i, 4~ ~-U i, L P. ... ~ -~ ~ Q_

up relating them to

' ~ .. ' . ~

''"' •- ~ I

•_-_.__ t '\, I_- • • ;._. " i .....

,.i CC Sec, ~ '

' I :; "• f ' ' t ' T -, • ( ' ' I ' ~--·'>' • , ; I"l to..n ~,- :. j_ (... ~ t ' " ' •~1 · * ' , ,- .. ·,.- " ,l i. -~ o,i '911 ~ 1 f ' N, ~--,,.. "'" r\ T t • .. -W, 'cc-: ,,... ,; ' .. ,,.. ·• L' v- t_.. 4 ''-t..__,-" '4 j f i, f 4 ' . '! 1] 1 I • 't ---_ , . ' : \it f ' • ' • . ' . • : ' • ' ' • . ' - ' ' ' • • ! 'j f • .. ' ... \.., J. ' • + -__ ~ ' - .... • • • ~ 1 f • ' 'l "' ... " ,,,...... jj; •• ...... 1 ·"'..,,. J '~ ,, y J' , ' t •

'f- • -- ) ,,- '1 - i ' -, ! ,. • ~ "' • ·, w • .. 1; 1 .. ... ,I ', -, ( • ,[ .. .. ' + ,; " ·ti,, ... • :. ,' ,,i ~ .. • .. .. I ' h ' • .,, .. ill, ' .... - .... f .a,. ... •' i.-~, - (' __ ; C 4 'f ', ~ jj • I.., J- ~ t , 'f . ,. • "'"'t-'11 I ... , .. ,. G0 ,. '.i •--- ,. - ~ • "-. -.- ,j • • - . ,i: ') I II- ' .a , .,; • " "'- i J\. " .· ... • •

• I , ~ • .. • r • ,: ,._ 'I' --~ _r ~( l '"" ~f ... , 11 ,: ,. ., , , -- ; ; . ,.l, i-,.; j, ~ - -.J (11 e

' 1l f a !4',~i .a-'" "'~~j I , , , i ., ~ # - " -,. . .., .. ,_ L •. ... " "':; • , ... .. j \.----Mo. ....- -"- •• - .... ', :f ' j ' •• ' ' f ' l ' ·- ,411, ·-. ·•• L, /~ ~ . ' .... ' "' .. "--· ...... · "- ! .,,

(' •'J.' ,, .• ' 10 ~ , .., -,. :I ' ~ , "" ,- • • _, . ,I, - , I T ' '. i \ • I • ' • i ~ , '• 1 ,: • t ' ,, Di 1,,J, l.'. ( ... _) t ... ~-j ··' I___ • ,, ,,, ' 1 ~ () Ii. ._.... ,._ I' ·~c.,,. '. I_ ' .., ' ) \_ .i., '" ..f 'i.,...,. :t-.) 1 d ' -.,.

lie nc e h' t Li1 t l1 :ls art ,P r-., U -,.,-~ i 1· I • '_ i l 0 .. lll • -- """ ~ (vii.91-99) Dowsecer relates the hose and codpiece to the vanities which possess men and take up undue time and effort which

could be spent in more profitable pursuits. He states: I do not here deride differences of states, No, not in show, but wish that such as vJant show Might not be scorned with ignorant Turkish pride., Being pompous in apparel, and in mind; Nor would I have with imitated shapes, Men make their native land the land of apes, Living like strangers when they be at home, And so perhaps bear strange hearts to their home; Nor look a-snuff like a piannet 1 s tail, -26-

• .-

• :IQ Por nothtni but tho1r (curla) and ronul.

f 't r " " ·,~ . • * ' ,, .. '

( V 11 • 120-133)

When l)oi ..':1ccer is conf?''Ontcd with the ptctur·c r>f the young

• .. ~:1 'f"\ ,'\ .( • Worn. f~(,A».iJ ••~•

cosmetics by women:

They have small skill; 1f they were all ...... n") ·~ n. f ?1'" -- • • •·Cl.. •--· "'· .. L-- ,...... w ..' ; I

i • "' t • ' •• ·1 • ' ( ' ... ' I •• j ' T \,,,..,,. .~ •...,, 'I,., .. -· ~ c~ \•' \•;~ • 1 ( ~ -.-"' ...... \ ,...... ~ .. 1 n .,._) t ,~-.. t J\1 tr1em; and lndeed

If ~ ·:: t + ~ y , .t

·, -~ ,6 ' -·· ... ·~ . ' . . . ' , ' , • , ! " ... , • i • • L , .i. --~ ·, _____ .J. 'J •.••. ) . cl. ...

r1 I • ' we n' l > 1 -. • • 1 l T ' . ' ' r ·, ' 1 .. ' ' \._., : ... '·; ..i, ·,._,,~ \,_ -~ ,·' ',·1 ·, ~---' t, ,I ( ~ i \, T •' .o. I._.. \ _, ·1 ; ~ l ,, .l ' _) 'L.(,_ - ·.. 1. tr1em, • 1 ,. . t • ·· ,, • /.. )· , .·1 i i 1 , ~ .• , : ) • 1 -. r · , • ri ' , , i ~- A d • 1 ... L"-.l . ,·, .L'.,, \, .JC'-. n / l..-.( .• , ,. ,__ •. 1,.., J even I Would joy ln thelr Goclety. (vii.143-149) Dowsecer also despises fatherhood because he sees nothing to be gained from it. His father Count Labervele has re­ ceived nothing but grief from his only son, and Dowsecer does not desire to share in the same sort of experience. The King and the other characters come specifically with the intention of mocking Dowsecer 1 s melancholy humour. They consider him a freak of nature who shuns all company and condemns all the activity of the world as meaningless. They end up, though, developing a great deal of respect for his honest attitude toward the world. When Lemot asks how h~ likes Dowsecer•s humour, the King immediately

-27- ' ~-- .-._ • - .' ~- - '_.-_ .- ,- ' ' " -- ' -· ,.. •• '~ ''- - - -· ,.,' .•g,: • - ..l ', ~ .- ,.,t- I' ,,,.. - - - -ld ' • h (, r~ 10· n.P: ~ a '-' (_ .. "" c ~,.µ1 r k 1 , . ~ c 1.. t1 • , ,Ki~ _ t o u . -

·"_•,-~-~- ,--.. ,._...... ,,._ ••., ._. '. '!" , • ...... l ~ ii , ~~ .. '·- ~ ii ••, ' ~ '

.. .& cl _- .. ,. Ti ~- ...... ) ' ' _:,, '•1 i ( \t 1 •/ ' 'J ' ; - l'I I; } • • ' - _,,,,. -·· ,,..1 - • Thus,

Oowsccer t1:1n galncd the resp-ect of all, and ls regarded as a

Tl1c .J• ' C. I. ') • ;__;.- ' l' a' '' ..'f. ic-..., .l S._ 0.- turns lover when he meets Mart1a. Oowsecer states upon catct,1n.g slght -of her:

, r· -~--- :t \f ~. i r- ,~. c-· n· ,, Wh a t.., ; t• .- C ... .ttc, ..,_,1 "'- . ~ •

• p . I .. .J" • ' I i, ;;· + :'° 11 C f • olll , ff-. ; ,· ~ ii • I! ~ f '· • ! • . ' , ·. , r ' , i •. : J' .. l ., '·,--- '. -·' '4 ' \ * • .... \ ' ,-... ,... ' • i, -....,.,1 ,

9 • 11 1 ' .. • "' , ' • ,j, ' Able · •• • ' ' ! • : . ! . 1'1

; '1 ·, 't'.;.'" ' . ~1~· ,..~ ~T:d ..... ~.. 1 1 4' • f. ' . ' " I' ,1,1, ,,; '. '( q, ) i,." Int '·. ) . . ' ~ ~ ! '' '·. '

,_,,,,- '· .,.1 • .r ,, •, -.~,,1•·,r Shl n..._.1 .. i • .•• , ,-Ct.....i..l. 1,.,,, ,.1nci :.:11;.:)u i1[1s not '- V t -, • I .... , ,, ., ' ' I C j • I.,_-,\. "' ,.,. .. ·•.·/ J.

My sotll , :) ~J 1,~nsc, rJut sense unto my soul; r i And •I ',,_.,4.-; •,.._· '-''_) ~~' _,.._·, \_; ,-\...! }1,1.J !'DU r C SOC "•- e ~-V '/\., J But l: v c n a~) a 11 L~ c: l ~~ do to an[; e 1 s f~ 1 y •

(vii.207-216) After this initial meeting Dowsecer is preoccupied with thoughts of Martla, and gradually gives up his melancholy.

At the end they are united in marriage with the blessings of all. Labesha represents the other side of the coin. He plays at being knowledgeable, but is basically a very .. silly person who, despite his actual chronological age, has never grown up. Thus, Labesha 1 s humour is his lack of maturity. He cannot do anything right, and does not possess the sense to know when to give up. Labesha

. ' ~: ! '" --28-

'-• .:..

-~.

I • ' ' .J ,.: ·_. : ,,: .. _'. :',:~- .::~,.:· .'~' ,· ;:.;.·;.-:~~~ )?:£'.{ .. \(;/}.. :~/~){i .. ?~','.,'~_:<.;;}, :f 0.-' /, con1t.ant ly hango aroun,d M.art 1a t1vvn though 1hv h.a1 ro-

.7-_i ' (."' ( ,..,'. 2_ +.f,!c ~- · 1 I \ l ~I f ~' •• - '< - _. ··• ,,. ,t-.i·."'4 "· ).,.. ~-··. • ...... "h (" ·1.······ t•.· ("'.. · R. •, ·,...... ~-· •' j...; ¥ ' ··-· ·)-1_. ...• f t ·. ~: lj ·,, ... § .. ; 't- ii :· " ·--~ 'j,, Lcmot ueoa

'{, 1 - "' -- .. ,., ~

II .. ,i.., .- ,fr. • " , :f" ( • .. _ f • :j ,.• 'I' . ' 1 ' : : ,I "• f ... '. -•. . ·: • "',. " . '!.,-·, f ' /-, "' .. ~ !o' ' ,it- ~ ~ ~ .,. • • _,· 4'; ·' .., ..; \ • ff " fl,. ~" ·- ·.

Instead

4 • '.. iii ·,· ,. ·o r: •I ''f 'I! t • • t' ~j t.I .' ·,.; •,. '· . ' ' 'I f • , ~ ' '·· " •.·. ' "'~ ' t' " ~·,. • '"' ,. ' ti - , .. , ~ i • , ' ,. ·, * J V W ~ " ..· ' ' Jo t-· .. ·,.,. ·· ,,~ J

I w· · ... ~ . ~ . . .. 11 .-, ..... • •" •f-< .. ·-~ ••. . •. """·1 •·" • •.. "'. .. • _, . "" r , .., · ...... • ,...... ,t .... La t .- t"· ._,.. 'I. " ,' ," ..,fl' • ',~ .\.· t:. : ' ••1 JJ' ' \,.,' ._1~ ,j . "'"·' ,.;f ' n \.. ,J n .., - .) ..· ,~i,..: '-'..J •}, l 1.) ' .. tt.'•

....-j ,-- ..t· · .....•• :· ' . '···1 ~ 1 .,,..,.. ,· )· t'·.~ t s p 1 c e - c a l< a , an d a s po on" ( x 11 • ;? ,, ) • J1 J.. ~ ,_ r1 ..1. l, ,.., tl t c n . a c

'! : ·, .. • 1. 'Y ' ,.... l 1I :· ' . . ,_,j S V (_'" r ' j:"i- ~-l. ~... , ... 'I._, (... m

'· and r...... •, .. r1; '11 :1... n c:1· .., r·,. .. }"- ""c-·.. _. . ·~· .. , "To end my l:1fe eat I this cream and cal

~ . La De st1a is totally embarrassed when he realizes that

1 ;_,1(:._.. C n , ·'• c..-·1 •·l, e,., ..;.~ ~ •.i n• ,.""'/ .. · 1• __im .!.. ,Or t· he· '·,hr Ole

...... period. }Iu goes 0 ·. "'I :.. ... ' and does not return until the end of the play, where he finds out that Martia is going to marry Dowsecer. To pacify him, the King promises that

he will find Labesha a wife better than Martia. Thus, Labesha is again pleased with himself and with what has been promised to him.

Lemot is the main character in An Humorous Day's Mirth, since it is his show. He sits "like an old king in an old-fashion play" {ii.12-13), and points out the humours of the various characters. He is almost always at the center of the action, and supervises everyone and

-29- -·

evorytt11n.i.. Much more or an 1ndtv1dual tha.n vtthor the

'~ ·, .. '1,·. "J" I c· • .,.•

t .. ~ ' ,; • . ·O.'.·.·.. ffl 1' l, •"' • t • • • _-,~4-~JJ..ij,'f iJt ' .'' ~ ~ • ' . " ". ' •. "'~ ,. I f '' ·. '. R •"1- 1 - "". \_,.: ... ~ , ••• ,. ~ ~If., '.·· ' { • f • "' • ' ' )! ~ ' f • .,;.,w '.-- • i.. ., f I ~ .. ~- ·,· " 1 ·-_ • 1 .,':.:.W ., ~ ,. d •a*'.··.­ "

1 'tIf ',1i t.•,,-,- . ,' ~ ~ '1 t .•. .. • t - ". 'ff 'I- )- .. "t,-' • . ·1.f ... ' ~ c,,' ! ':' . ~. ,t "' . .l. .- . ... • { • ~."* .,.., ..... •.. .(::.1·

alder durin~ the entire play.

Lcrnc>: .. ':1 l1umour ls i1in love of meddling ln the af-

fa 1 rs cJ .~·~ ·o·. •- i,1,. ~, (.... ~,- ... \·.· ,~ ... , . ".' q tr1c 1-.., 6 \,.. #, ' •--~ J • !._ ,.. - L--. \...... "' .. t-.J •

and pranlcs a1~e valuai)lc tl1ough, tl1e

characters into exposlng their varlous i1umours. Lemot

is e):.tr~rncly busy dur'ing the play because 1t ls his job to lnitiate the act.Lon and t() 1(eep :~,t rnov1ng. He at­ tempts to manipulate Count Labervele's suspicions of Florilla, Countess Maren's jealousy concerning her hus­ band's relationships with other women, and Count Foyes' obsession with selecting a wealthy husband for his daughter, all at the same time.

Lemot cleverly complicates the actio~ by contriving situations which force these characters to exhibit their particular humours. He contrives a test to evaluate the purity and constancy of Florilla in order to torment Count Labervele and to prove the hypocritical nature of his wife. When Florilla submits to Lemot•s initial

-30-

I ., .•

• ,-,...... ~ I advaneoa, ho doc1doa to compl1cato the altuat.lon even

t.""'"' r.'"'- io.·· fi nc f_,( (~ C , .. i ,, t1· t '-'- . . .. ·.. .· . . ., . .. ~ t. I'-1.r,) ""' d··. . .1 ,. nn·"·~-.... r a· t.. V··"-' lf"'{)'• . nt..,. I •.,~1

~.h~~ mnlM• "" • i ..... • ' ll ~ '\,,,. c.... ' ·h·.a~a·c~e·~~U • a\ •' " ""' "' .. .Jc and

.. -, .,. . ,. 1ng •-,. :, ...... ,., ., ,, • ••.:• ma i•,·:. •.·' ,.,,,· ' • ...... le c l,rt 1.. ;;;1c t t.: ra ' t··l· ··1 : \,_ ~ J ~-..,.~ 'I- , Count .. , ~ . ._J( - ' l.,, I, .!" ,ii ,(_

and 1Cl)Unt 1•1·01~en all attend the dinner. Lemot c\'en seeks

" . . ,, .111 .' • • , ~ I. ., " t .... · C ...... , ~ ... ~ ., .. _) .,. , -~·..,. n • !~r-orn Countess ~1oren in order t}1at her

... t1,· t·\.f'·n~·- .1·.·,r t·J... ,-,,r:..y7" '·. r·• i'n ... --~ ·~&.'1....,.- ...... ·'""'"· ~..J' , 1 ·. .:.. .J • l I • •; .•. J..., \_. • C ' tl1~1 t t11c r)~l r ty

will not lncludc \11ornen. The 1J1nncr at Verone' s _:3 al:··cady in progress when the two ladies and the King arrive and

are e scort,.]J to a secluded area. Lemot then persuades

Count Moren to join the small group, and he slips away in order to inform both Countess Moren and Count Labervele of the present activities of their respective spouses. Lemot also sees to it that Labesha is told that both Florilla and Martia are at the tavern. Once Lemot has manipulat.ed the characters and the situation to his own satisfaction, he enjoys the ensuing action. The char­ , acters battle among themselves until the end of the play .... to the amusement of Lemot; who encourages their particular humours through appropriate pranks and remarks. Lemot is a witty and bold person who loves mischief f:or its own sake. His aim in An Humorous Day's Mirth is

~31- not only to axpoav tho hwaour1 or tho vartoua eh,aractora,

It •• . ,. • t 1-.- .. .., -I '( .} 1a ··./ :, c ~- • :t (~ t.> n -

( .~~--.t~ir_. . - . "' )

4 rt, '1 " "• ' • • I ' '_ '_ ' ~ J '; ' • i « ! ') • l ; ... " .... ,.., •..., ~ ... :,.. "\ 6, ~, ·""':, -t .. -\,.~ f ;., ~ t --t , 'I,_ • ., \ 1', ...,_ t! ii,. .',., ,,. I • 'Ill C If t"-J 1 ... ! 1,t1 -f • .... · , • L- V ,, ·. ·_,

than

for a cJnlc :1lr111 c l at1 :1 pu :._pose. lfls purpose ls ncltl1et" to

r·-- - • '"• t.~, .it, ·p" ~f. <' t e ., .. '~ 0·-0 •r C 1 n· L.1 -- ~- .,.. • •~ -. " t,'_ 0 .. ,. tl_ ?·\ii·,1- ~.\c- l~ 1 '•n1\... o· r• t· h· e:- -.i- !_"'- ,~UmO_ U ,.... "'aJ •

! I ;"'\ w i' ·, \J '1i (,,_.,.. ' "-- ii ',• <,._.~-. .,,.. ' ,_.·_' / • ~• ... · ',..._ ... .._ ' N \.,,..,, •_·' t''c' . ,_)•'!, ..,.;. , '-··'·~ t"1i--· --.,., • ·.. o·'. - n W'° v • •

f'' - · .I " \'i i') J. C tl ! 1 ~l V L' f) t: t: n !~ a 1 !J C (1 a-- r-.,•...... ,...... -·. ... *II , n ··'"',--·• •'i\," ;-1' "-....IJ ,·11', ,• r1c>ne of the characters see any need for changing their behavior.

At the c !1 cl :) f' t }1 e p 1 a y \•: l1 c n the ''4. u e en de man cl s that Le mot

l' \ • ,(' 1 !Or nts 1a sc story cone c r'n Ln1~ tl1c K1nf~, it is the Ki11g \tJho de fends Lemot 's pranl{s and amusement. He remarks:

Well, pardon my minion that hath fray 1 d you thus; 'Twas but to make you merry in the end. (xiv.88-89) Lemot appears to observe everything from an intel­ lectual standpoint rather than from an emotional one, and remains detached from the rest of the characters. Thomas Parrott notes that Chapman keeps Lemot "free from all taint of self-interest or sensuality" (689). He never-concerns himself with his own interests or problems,

-32- and navar :dovelopa a strong relat1on1t11p w1th any or the

•..... ,. ,111· .. - ": ~ '. ifli" :!: . ...,. .. • 11 ! ' Of f'J ~ •,. ~

After· t.t1c tr.oublc at \fc1"onc•z1 tavern wt1cn Flor~111a comes

to :1!nt :.?1 net; i c;!" bot.ti affcctlon and advice, Lemot coldly

• .. .• t • - ' S ·--'W (_;··-1- ..:i..L'____ - ~- ..·--~- .J

come, • { • ,··1· • ~. (_._~ f._

+· ...... •• 1 '... • h O • J · · • " • , \ · 1 ~ • ~:. • "· -- ' ,: • · · · •1 ~ · ~ ·, r • • , • , • • , ;: • ·, " • "· f , r • t"l U -. . l~ -, .. ~ ~ ' • _. f. • I ' (. • t .., .ii, '·"'··- ,.. ,_ .a.. .., ._ ,... • , 4 · ,.. I -, J, ., •-- ., • • 1.. .,. _. ·, • ; 1 • ~ . ~ ~ ' If. •• •• ' • ... • • I I ••• j • ,; . ' . • < •• . • i . (' } \ I, . ,,. 'll II . ' ·, ...... * - ' -~ . ,,...... i...... ,, "' . . f .. " ~ an·--~ •• 1 .. .• • t. h'.

•'- ~ _.- I "!_ '!I ~ t '·- • l >C. ', ._ .., ·t '"I ' _ t • ,.._.,. ' ~ I . , :,t ~~ ' ) • I .. ,., ·!l • • . I • 1 t.: ',..-_·_A, ii '"',..,,... · - '.,.• 4I .. ~~-·· T 't j. •' r;,..""'. '\ ,;_ • II --"' • ~ ,Ii , . ~--- -,

~ -t'li• '- '' l1·a·· -_i_ T)L.-...., ~J. '' a·· •1' ·• ·1 ·1· 1 ·1 r:.·i • ._ ,1 ..... ,·1n··J·-_(:" r at "" • ...._. '- - • 1 '·c. "· t·, Ci. , . .., L. "· U J ~l <..L ., __ ,) ' ~ "~.._--- \. ""' •

(;,:1.50-56) A person as cold and insensitive to the deaths of his

parent [3 ci s Lcn1c) t. CC)llld l1c:1.rc1l:/ l)C e;,:pectccl to resoond• to

me re acqua .Lntanc es \'.1 i tr1 i·.:ar,rntl1 and pass ion.

definltely be out of character for him to get involved. Humours are his main business. Millar MacLure describes Lemot•s character perfectly: Lemot's essence is movement, as he is the pipe to make a~l ctygce, the ducdame to call all rools into a ring.

He is constantly moving around, trying to touch all bases and enjoying himself in the process. Lemot's use of deception to advance the action of the play and expose the humours of the characters proves very successful. In An Humorous D~y•s Mirth, Chapman deals with nothing else besides the humours of his characters. He

-33- ·j-, • .•

/ llnko C,ount Lat>ervvla, Countoa1 N,.oran and Count Poyoa to•

1 '' C "". • 'Ii. ;,_. i_.'I. ti' ~- (' t--.· .Q·'-, *'_'"' '&_'h_·· rti~·d_. '"' ~r; ~, • .,+ t_ ,, i; -c ••.~ ...,...... -'"" . , :.,~~~ ,,•J.____ l \,- .... _, ~ .,"r ,"1f ·1 i.,"~ ••(" ._ ..

The pla:, t1t_1a no r~eal plot, and contains no

r-._. T" o·. C ( .. tl t1' L ., r~a. rt_'... :1: • ~-- m·~ a·. ""I! I -- , ;,_ ·Cl •n J d~, ,,~ ,...;._ .a~ r:_, ~ d- .J'\..• •

••j i.' • :· ~ ~"" '1 ~ ' · 1:. •· .. • ~ i. ·,,_;~ ,. ' • • ' ,: ~ Iii ; t ' ' -· t,, ! ,. • i -, .. • - _,, ~ • "' ' ~:-. -t __ ,' ,.._._.:1, ... ~·~ - . -f j, -t':_ ~ ' ,, j omcdy

r.v

Chapman also uses humour characters to a great ex­

tent in All Fools. They are both Ln the main plot and in the subplot. Unlike An Humorous Day's Mirth, All

Fo ,J l 0 .:i c) c: ~ 11 a\' e an cl c L u a.1 p 1 o t , a r1 d t }1 c: i 1 lirn o u r c ha r a c t e rs

no\•J compliment the action. For th1s play, Chapmar1 ·uor­ rows the static stock characters and the pet situations of the Roman comedies of Plautus and Terence, and devel­

ops realistic versions with life-like characters in con­ trived situations. In All Fools, as in Terence's Adelphi, two modes of child rearing are contrasted in the two fathers and sons: the strict father, whose son turns out to be a roustering type, and the indulgent one, whose son is loving and obedient. In the subplot, Chapman again exhibits a relationship between an old, jealous husband and his young, beautifu_l wife. All Fools also contains a scholar-intriguer who manipulates the action

-34-

/

TE'"r·. . 'C:::= ... -7:==s:::::s::::- and ta contrasted with the a1lly doctor and notary or

-~ t ( If\ •

'1•··.i ., -,~.·t·~· 1- '*_ l,_ jli "' ¥ ..• <'·' ~ • \. ·• ., ~ • '_j11· j - 'n .

an c :,~ (· c 11. c ri t !' a t 1l c :"' (> f a 11 1 r !"' e p r ,o a c 11 a l, l \; tl on • 0 o a ta n :!; o

·• ·1 . i ., . t ' • . . ,(' • 1 .. gen t - t: ma r1 Dy t r a . 11 i n F: r1 ~- :n :. r1 t 11 e ft r t o .:. 11 tl s 1 an a r y •

stern father, he has taught his son to appreciate the

' 1'·1 r r1c_r_ (~ fin f ,•• finer V _.__,. t:·, "'-.) ..... 1-~..-.. ... "- • According to Gostan~o, Valerio is

"' -- f ., h'!1 LCI1

exist in the city, and practices temperance and sobriety

in all of· his actions. Dicing and v;enching are not a

part of his son's life. Gostanzo could not even begin

to imagine his son ln the position of being secretly married to a poor girl. Valerio would not dare to do anything without Gostanzo's permission, especially when something as important as marriage is involved. Gostanzo, who is very proud of his social status, would never al­ low his son to marry any lowbred, young woman. Gostanzo•s humour causes him to be very quick and eager to believe the story that Marc Antonio's son has secretly married a poor girl, since this would emphasize that Gostanzo is the better father. Marc Antonio, who

I , is an indulgent father, has failed in the art of child

-35- rear1nK, wht lo Ooat.an:.!o• n stern and ha rah teahnlquea

'f •; :C •••1 1li 'f re Y' ""

·•. . ,, ... ' ~ ', l·. • ' { • .'. ,I. 'f ·, • ' . '. •. ' , ' ;· •. • .,, ' I ~ . ..f. ; I - ---· ·-+ • • .., .I ~,-· .. ' :(. ,.

g• 1 •·\,,,'·-·*··ii U'l t·· ~. cJf·'

..,a 1nd····u1~,~,,c,~· for h1 • ~. '\.,<, ~ ·- ' ~ •

I, p r1 :i : j ~ 11 ~~ k l n d o f c on at ru c t 1 on I surrer ,~. J ··, ~ ,t ~ 'I f ~ • ,, •

." ~ t I " . ~ ".,,.., I --, -·1, ,,. •t You .._,_;· J ·,,._ .. "' -,, ., p., .. .--/ '·< -1,,f- '4:..)

• ~ lo "' "' t ' • :-·-1.. .. !_ Ill .. ·._. •.,(, rli:1 ever r .. ~ . : n tl 11 , a ?1 rj 1 au p;l1 at y Ou • c ornpe te:nc ;l you ila ve

~ '.' j, " •, f • .. j: l """; • ·i ·.·~ ·,. '., i :, ··:. 1··-, c· t" Wi ti1 *" .. '... i! -- ... T .• ,~ ._ !._. u ..,. , .I\,, .. '°',.. •,·• , ...... ( •v • l u 0 a· n ·d·

I " , 4 ., ·-. ,,. ) ,i ' ·_ 1 I,...... t+ ,-. .· ~ t.. - - . ' ,, \ -·, ~-- ) f ' ' ' ' l'' - ~ ... '-} ... ~ - . • - - • W0 1 l, 1 ' ' !l ) f • 'j' 1_ , ~ r '.<" r~ , ; 1 ,; ~ . . •f, ~ 1l ,_, ~ L v l l cl !1 ,_) • \,.,, L • -~ n _,.. ~ L; (Jn her ~ -

Yet all ·:u:.1r ' v,ealth too little for that

By he2\· 1~r1., I pity your declining statel F o r l.:; t..: .J. ~ ', :3 t.1 r ' d , y c) u r s on ha t h s e t h i s

1 ·- \.-1--· ,-i: :··.1', ~·· 1-11 1 c·\ 1 In t l !..:,: l. . ., ,'. _,, 1 V p·-lU. V •··a- f ~,..." ·-·L, '--') on-.__).... t1~np• ..V - -- on·• Up to Ll-i(: l1ear1 t Ln love, and J'or that lt)VL: Nothing can be too dear his love desires: And how lnsatiate and unlimited Is the ambition and the beggarly pride Of a dame holsed from a beggar's state To a state competent and plentiful, You cannot be so simple not to know. (I.1.274-293) Gostanzo's superiority humour also causes him to offer very cold and stern advice to Marc Antonio as to how he should remedy the situation: Where? In you·r just displeasure I Cast him off, Receives him not; let him endure the use Of their enforced kindness that must trust him

-36- ""'r· ffl •n f A - .... -·- ~ . V r'f f"' fifthN f'"' .... r u . C: ~, 4 ,. n y i;.l,.f O .. ., U' ,. • • t) ~ ,,. r r ,:• .. ~ ·.1 , ,. ';Afl Vu · iJtit C. •

..,t I •. ~ • t • " .. ~ A • l· f ~ ' i ~ ·'. I ~ "'. ; : f "': F·ji •., IS ' ) ' ,, •. )'~.. If f' -~ • h # ( l.,J ,.,_ ·• · __ .... I \, ,;i .,, ..... _ • ... .,., °':,_. • ·~- · -, on1 "' ~ - . • .i ,,_. - .. .,. ... -=- t. ·-· -·- ,~- •

\. ~--. ~ "· · . z · r . ' I ' 1 • . '. 11 ii . . { • ' '· ~ ; i ·. f ' ~ · ~ I ' < ...., .. • cl " .. ~ _,,.,., ·-: '? l' ~. -•-1- ~-- _,___ ti _,, .-.. ~ .,,,, • f

(1.1.296-}02) Oostanzo•s humour ls exploited continuously through-

' '"II ,.._.I ' ii, 11ft· Ill ,' -,.; •. ;- .,,. f /I; out '.. ;,, II .. ·.-~, ,t,..J' -~ ·· ', .;' '.,.' f' f ·:-;,,..-;

married a poor girl, but his daughter has become the wife of Marc Antonio's son Fortunlo. Unable to take his

1 1"'1• 1 n "l(.,··,r ..• t.''' Gro~···i'.:in,··c) ;\L')t··~ ( ,· ~ , •~ ·.·"~ '-" , ~ V · .-. ., • • _;t •.,._ '"'·(),,. c1· ! .... 0 "-,A.

d aught e r , bu t l1 c a c c e p t 3 t 1·1 t n f~ !J a. :J t r-1 e ~/ a re •

Valerio is modeled after the rebellious son in Roman comedy, but he ls much more of an individual.

Valeria's humour 11 ke 111 s fa t1·1e r', he is a very proud and conceited man who ls impressed with his own accomplishments whether good or bad. Valerio con­ siders himself a gallant who knows how to live and act well in the presence of his comrades. He is a high­ spirited man who is ready to have a good time whenever the opportunity presents itself. Totally different from his father's model image, Valerio drinks, plays dice and runs around with wenches as much as any other man. Ac­ cording to Rinaldo, the intriguer, Valerio is known in the ordinaries, tobacco-shops, taverns and vaulting houses, while his father still takes him "for the most tame and thrifty groom in Europe" (I.i.156-160). Thus,

-37-

....·.

I '... ' 81 .. I ' ------·......

Valer1o reruaes to be molded lnto the "perrect" aon which to be, and ~111 not glve up hta

1 f .. .. Xt"'. .· 1 •rr •.1! ~ e .:-: '"' ¥. .• n .-:.... ·, 'l ' ...... t.: . \ ,,. r( ~k~ 1'''6.• ,. .• } MY ,.. t -· .. • • l_~- """ • Doe a }1c th ink

.. ti .. ' :is ' ,. ., ~ ~ ' i . • / • , l ' I , - 1:~. : l: ~ • " ~ ·: i • T; ':'; ,· .... :. ' (_j. r, Ji, • l <:Ii...... -· ,, 'P '; ' ·t t .... 't' "' t .. .. ., I ' •• '- .,:: '·-. r- .- * t I; • .... , . .t t ·, " -, ""~f. -, ,, ' "' . "" .. ' .~ ' ~ ~ .

. ' ' . "\ ' ,, •J t ....,, ~ ~ I' ' -~ ' ~ ·, ' , .. •• ,.., .... 'l ~ .... ,...... 1-.• J

. r··~ 1 i '., !"·~.· ,, '• ,- \..., ·~;,.,.. "' 11 ..- • « ._. -.~ •• • \,, , \.. t· , t .,a V · __ l··., _ '-- ... He ) --. p·~

< I •. ' 1 !' .. ' l l 1n •. •. l:c..... ,)l t t;,

( I • 1 •135-14 3) The character of Marc Antonio is not as well devel­ oped as that of either Gostanzo or Valerio. He is very much like the stock character of the indulgent father

from Roman comedy. It is especially difficult with Marc Antonio to be precise about where the stock ends and the humour begins. He is shown to be an easy-going father who takes life in stride and treats his children with indulgence. It appears that his humour lies in his tendency to be easily duped and manipulated. His gulli­ bility shows through when he believes the story that Gostanzo tells him about his son Fortunio's secret mar­ riage without checking out the report. Marc Antonio also goes along with most of the suggestions for reforming Fortunio offered by Gostanzo, except the one that calls for banishment from his household. He never once attempts

-38- ,,

.' • to put Ooatanzo 1n h1a true place.

.. pl!, 1 o·· , .. t • ~ .~ ., ·. '. .... 1 j • ~ •. • ~. • ••.· 1... • f . ~ ~ lo • • • t ., • • t - ' .. ~... It ··. I . • f!I"; k ... , , • II L.f. ·~ I •. '· "· ·.i ..... 1. ,t • ·••..• 'ti :t "' .. <;. 11 ... .. ~. ft ¥ tJ.J ~--· J ~ .. .. • 1..--- '· )'

. c·· .r,.~1,, l "· ·t'* ff'!:.,.,~• ~· c.t .... .,,, . \4 ii ac h '-!' .· • 1 " J hi' 1.~ • ~ ,.., • l q, ~·: j,l

ch1ld:~cn. Marc ;\nton!o tJcllcvczl tl1nt 111H H{J!1 \tiC)uld not

ac tua 11:.t at tc?npt to hu r~t h tm, t)U t 11,ea l ly mtl!l t lo·vc the

,. ... " ' ~-' t l ' ( 1l . f'J ~I .•. r ..,,.. -"" .... 'I.._.-. 'I! , ..., •. • ' "' •, f' ·,: l \J ~ f ' ' '· ' I . 'I', ""· ·,,~, ·--~ .)-...j g '.'ill\... .. -f * .'...... ,J • - ...... ' . ~

ct u , -,. 'l't .• ''I • -·, ne ~. i) 111 a !J(Jn . ) • ~ \.J" :.;

and be hurt or killed, if he banishes hlm as Gostan~o

suggests. Mar~c J\nton1o \t:ants 11 is son near !11m, since he

i 11·· 1· " ~ . f • f, i ~. t s t ..... lJ .•• -.... ,J • i .., rn ~1arc

Antonlo says to Gc)stan:::o, "I cc1nn

than Gostanzo could ever be. Even when he has been alerted to the truth, Marc Anton.lo does not wash his hands of the mess, but attempts to help Gostanzo under­ stand Valeria's position. The character of Fortunio, Marc Antonio's son, is not well developed in the play. He is included as a foil to Valerio, and is not a humour character. Fortunio pretends to be the wayward son throughout most of the play, but is actually the quiet, obedient son. He too is young and enjoys life but in moderation. Fortunio must suffer patiently until he is able to marry the girl

whom he loves, who just happens to be Gostanzo 1 s daughter Bellanora.

-39-

!' -:

. ~ . :·,. •··,' '. '·,··:,,: .14 ,,. ,, . _;J" * •. J.11. -· . . Ll '\.J p !I., I ',J ("t r• ,.-~. ~. J. n • •·~ .. r., .... , ·'·· ,.A 't· ' :f.,..

· .... :'!'·f~,,·"' . "'·.. #' Co·.:. • • "f ·"~. -~ .... •••., J

tii; ~ H .. n "l l / .)I ,r - •---·~t' ·.. ~i. ''""1 ,_)' C 0 .«.. Ji ' 1. t'\ ·r· ··'" f"'. r... t. "" • • ' " t ; i *. ~ 1 r' it cL.. "It'. • i ·\~-::. ·I ._ '"*· 7',.,.. f if .-.. \-:rr· '··· ~

,..n"~ 1 i .,.... P·· ·. 1 1,n· n ness. CO·. • "'-'· • "'· .\,.,4 • • !'111 t ~.,t fea:1tn Just to see how Or1::ctta w!ll

tb,,. n r .. • r '- ~:a -. '-· ~.., t.. '.· ,.... 1·. l:'t : ~ \..M, ii u

. t f,,.,,.. h ·~ ,.ti. .. ' .. 't._~ .. .. .-• ~ •, .4 ; 1 C t-. r, 'l 'I' l,..cL. Jl!I, • . . . ~ '· • d "' " ~.~ I . .,...... ·-..1 ' " .. --' (.. ,.. '

,j_,, .\, . :1· "~ .. -...... 'le, r."'. c.·, ~. • r 1·· C'.. '\.,;, .1 . _, '·l . 1. Jcalouay, ·•··. ~1 .. .,.-. ·-t WI ,.l ,_ , (, .. . C ""' ,._ others thin~ about his actions. Cornello states:

'1 ~ ,. "· ;J .:)(.. t'J. .5,~ •., ~ ·,. +. ' . n t_·. ll f· i ~~ t:· , i .:. u.· ~ r ?"' - i1 ,·."' ...... ;.,;} . -.~ i;.,.. e:~ e e· ' "..·.F"o i ( • ' . ! : f • j ~ • ~ l 'n ,., .I '. 0 • ', . ... ! ~-' ''-"'"' "_:,. \/' t ... ,. «II ' j;, ... ·1 • 1 • t • ' • f ... ' ' '") ' t 1 • . ., ,. ~ _/ 1 • \._. " ' ...... '__.. l_... .. it ,..,.,.. "' \ _)

• " .. 'I "" ... •• ! " ~ ~ "I. 1 ,, l' i , .( ' • '•. -'.. i,-,. l: / ,· 4; \ . . . i '.,., .... ;.. ..., f~r t~:·,,...- . , ---, , ~ , !" • ' ,-__ ,_- ; Tf) .,...... '·' ,;,. "'- ·.... __ , • ' '' :t') . ·~ . ~ i • l r ) . • . • . , . ' . •.... "r ·.·. (. 1· 1. ..., ' f. .l. g... n L•' • - . ·-- j - "' .... \....,. -.- , n ~ (. t "' • -,- _l .. ' ·:_t- .. • L ... ,• . . ,.. . ·-~ ..

7 < 1 ' ·:- ~. ~ 1 r n (;;• ~ L ~. \.1· ·, :,. c'-) U [' c• t ) o· { n t· t In u "-' , • • l • J ~ ."... r__r l i ..- l .. ...,. .1'Ft. ...J ~ ..-- _ , ~-- a rnt~ For thLs my jealousy; but should I do As rn () ;; t o ~·' t he rn cl() , 1 e t rn ~·\' h' 1 f' e :' 1,,r r o u t ~--l r· ·, 4~ , ,,. :, . • .. • ' 1 , n ~ J • T 0 ; c ci ~-) ' , : ) · .. Tl (J '"'. ~ .l \t .. \.__ ,., l __.... J, ,.;. ·J'-. !'TI \_...... l l ] ''j 11 . . ' . ,J. Ll,. _..._ .- l__A. c,,J 1.) ' P l cl;/ I·1 t_; 11 c la. 1-1 [; , f ~ .L \t c t l 1em t Line a 11 d p 1 a c e , Wh l le I ~-J .i. t 1 i.1{e a i\'e l l-taugt1 t v,a it ing­ \·.· (J n1a n , Turninc~ l1e1· eyes upon some work or p1c tur1 e, Read .Ln a boo1{J or take a feigned nap, Whlle l1er l(ind lady takes one to her lap? No, let me still be pointed at, and thought A jealous ass, and not a wittolly knave. (II.i.272-287) Cornelio 1 s jealous humour causes him to believe that one young courtier, Dariotta, is in love with his wife. He states to Gazetta:

Well, mistress, well, I will not be abus 1 d; Think not you dance in nets; for though you do not

-40-

!:

,, I"'\ u .. k~ ~lJ'! ,_... t,.1 ad·-. -. P' ""' ·- ,,. -··--_ le ... 1 .,, n· 1' y .i"I. \c, na _..... _·· ~ D • t: h .:, .._

•_ " • ,.• l_ ·· t_ f 'f. \ f • °' • •l ii ; i f"" . t • " .. ··,,: ::·.1, '!r •. ·,: 41 ~--'- _. \} , • ,,; ... • • -. • • • ..i ...... ;. t r • • t • , Fi, 'f '\- i !i ' _•· l I Y ... , , '" 1'. " ., ..• .• _... .i, •• '"" --• * It ...... 1 ~ t ~ .,.._,_ ... ,._, ... 4.. • 'f ., r. ·-, ,,, .. r" ... ··· , ·-t'''f· « 1·,· .} ,,, ' ' , t - ' t .,;- \ .. Ji "!Ii- ' .. < ...... ,. "' ~ ' . (. ~ • ' . ': ". •t f. ' ... ~. (. l! Y t • . , __, -~ -"I ,: .t ··-, "" ._, \_-

~ 1: -': f .,. r' -,; ' J; ~- - .,_ • •

.. • '* ...... - ..... ,#>· 1 • '

T[ -_ ·- .._ - ' ''f ~, ' ' • ' . .. ., • ( • •. ! ),,.. , ...... -. . ., ' ... . . --.. Y ~ ~ i • 0 ...... "' '.'I- .... "' ·' •·•,, '·.· :_." •. 1 t • -· ; . . ) ' '. '1 • • • , l t , • ,.,,, f • I , • '- __ , • ! _t • ' • , ' • • t ~ a ·f ---- t 1 ::zilt. ,, '> "T "" ; '· (j Tl j · ' -1-, ' Jt ' ·" ';. ; ,· ',.;. ..ij ••• , c .. ·- , ;I, " • ..' '·- JI, .. \- '·-· ,.,. _ '

f M· 'H -.· i. I ' o.t '1 'f • ·~ ._ _ ;_· 1 ~___ --1 ,_ "' ' (\ f 1_ 1 J •. 4 l.. ... - ... .;;, '" .,IQ I .,'L, .. i:"ln··, , .. , ...... (II.1.251-252)

Like Lemot 1n t,n Ht1morour1 I)ay•s M1rtl1, \t.~t10 contlnuously

a r1 (i Va 1 e I' 1 {) c tJ n t 1. n tl () u :1.1,.r •-·! taunt Cornelio concerning this affair. They even manlp-

u 1 a 'L c: ti: c ~:. L t t121 t 1 r) n t c) th c e >: t e n t o f enc o u r a;:~ 1 ng; a f 1 gh t

! ~'• .- t· - • c·1 " ~'"'t - • 1 ! i" r . • v· r, Ti ! r " ~-·· : ~ \. ~ ' \ b e \•,, t.: C ?1 ,, 0 • n t... .i. 1.) cl ,:J. "' ,l, 'v ._. ~-- ,, ~•1 C) 1 i ' ' ; n Cl \•• C "'.. ·~· \_1 Iii.._)'-'' ~ L.. \_)'t"' : 1 l. 1 q_. 0 I ·---· r1 1 11 l L 1 I' ...... ,. '·t 1... , (-__r r ...... ,

Jealousy and leads }·1lm to r1is decision to seel{ a d1vorce. Cornelio believes that he possesses all the evidence

that 11e needs to pr,,ove his case against his \vife and her

young, courtly lover. Al\JJays true to form though, the suspicious Cornelio develops a nosebleed when he is about to sign the divorce papers, and immediately infers that this is some sort of sign. He, therefore, defers signing until the next day. During this delay in the proceedings, Cornelio learns from Claudio, another young courtier, of the fact that he has been tricked by Rinaldo and Valerio, and immediately seeks revenge, since he does not savar having his jealousy exploited by the two young men.

A·t -th·e end of the play, Cornelio is advised by Gostanzo -not., to become Jealous ever every flirtation on

-41- tho part or h1a klro, a 1nco auch oeeont.rtc behav 1.or wl 11

·W"·· 'il •..,· .•. t. !f,· Q,'. ·;: ( 1' • ·, 1 t I!. '• ·, i • t It• ' ti ,,. j .f • "' " :. I ..f 1· • • ' t ". • •.(.'" J 'I-. ! µ ,: '.. ' ,. : - ·', ' - l ' '\. ( ~ l' 1 ,;I ,>' •...... ·,1. C •/•~ j 'Y ~if l' way. ,;;, ,..A :..., .,.. .,.,_ . . .~. ~ " ~- ,.. , 1 ,1 ,. ,._,, ,. ,.. . ·le< ,.,, ,. ··. .• •·~· .,.,., ·-11 't._ ·. .. ·. -•- Ii -'-i·.·l· •, - fairs to go on quietly w1th1n his own home in order that

,. . . .., • . • .. ._ ~ {""" I• lf'J;')., ~ , V • ' f_ ' ~f 1 ··1 # • 'f ') ' ~ f • ('_, - , .,if__ • ., " 'f ' f . ' '. ..) 'I_ i . . I , ··, < I 'f 1 1, ,° · ." ~-.. ~.- i Ji - ilt.: -'!..'." ... -..,, ., .. _,., "'"~ ,. 'L- •• ... j •'-,-,._,~ .J -!-f- • ti·~-~,. .. -- "?-~ ,_ , ... .',./ ( ... 1,,,!" ... ',. i ... ~ ..... ~ ... J • s l de r . . '

203). Co '~"nc ...... ·1 1 c) ,

by stating completely out of' charactex" that his Jealousy

\-Jl1e n

the divorce suit:

Only to bridle her stout stomach; and how did I dra\·.r on t!1e colour f(JI1 rny ci1vorce? I dld

-.":. ~' - ' - • l '.~, _~'\ / ' -, .--.,_ ,..---. 'l,.. ')t ,-- .., .,. .·""'"" ~- . ••' _, t r a _l_ n L., I 1 ~ w'. l) f • ,, '" • , , I • . ·~ . . ,. . 1 • ~"" ' ·'L {' .• . ( ,-.1 ,-,--"' "'\ T ,-,J •l , ("--- __ , -. , ~ll"1 t'.. 1' -, ,... - ' ' ··1· .- ' '. 1 ~..1 '. ' ·, ~1 . r 1 'r ·1 ~.. ,-~... '. . '.' ;• ··, I s 'v I • .~ '--- L1. LJ t \. _J.. ,_l (...,. 'f , y' •• ' 1 \..- ., ' v C<. -~ ,_, , r ..,. IJ ~ "' .>. •. ~.. ,_, I O -~ ..-.1 \_. (.,' l- l.' 1'"\ r .L (_; n ij :J ) , ~J n l y ~: c) t : ;c:1 1 r1 }11 rn Lr1 j 1 c t: 11 .l.. rn a 1 o n e i't·ttl1 rn:y \·J_L_Cc 1n l'1cr uecJcl1c1rnbcr:, ancl sornet.i.rnes found h i rn a be d i·,; i t 11 11 e r , and \'Jent n1y \·J a :l b a c k again softly, only to draw him into the pit.

(V.ii.213-220) According to Cornelio, his jealousy was just a pretense which all were foolish enough to believe. He states, "And now shall the world see I am as wise as my father" (V.ii.229-230). These statements at the end of the play are hard to believe coming from a man like Cornelio. The amorous courtier, Dariotto, is young and energetic. He is a very proud and conceited man who is impressed

-42-

·,

' l" • · · .,, ·."-'~ ... -;.:, '.-.):--, :.Xr\:1./f-"-:~:=<·,J.. :.:.'/:,\ .. :· with h1a own aceoapl!ntvaontn ln tht art or love maklng.

ror

< \to·- ·_·_' ...... :.. ' ' •1 '. fl#--~·.·"1;...;, ~ ~ '"~~ __., lf"!, ,,._· ~ ' t _.._ -_· • ,· r. ·_ ~ . c • •t t' :.r- \.. J ,; • ; ~- ' .. ... ~ " ~ .. -~· "· ~ • . 'l i •

men. Darlotto statcn:

,r ~ " " ) .. , ~ • 11'_ ... {··1-. ? " r.. it • ,,,. Ii' . • L,c t me p:r11n My r1 fl cl ····"1•'• ·"' ~ ' Or I tlrn gone.

{III. 1. 305-308)

It is, therefore, Darlotto's deslgn to court Cornel1o 1 s

t~ r:,. .. W '- a-:' na~-~ t O t= .\~pl" . 0,. 'al.1' •·'l,, ('.... !)' ..'f' ""' l' ~•, f ·~ 1j. ·1 )l l '. 1 n, I 1 f · \ ,) • .,_, }1~ '1'1()\.i !' L •l ·' _.I, •. ) ' 1.,.. .1..' ' • lie tells

Cornelio that it is more l1on

is neve1) at)lc to estc1bl.L~311 any sort of relationship with Gazetta, except the one ln Cornelle's mind. In All Fools, Rinaldo, the younger son of Marc Antonio is the central figure. He is the intriguer whose particular humour, lil{e Lemot 's in An Humorous pay's Mirth, is the love of meddling in the affairs of the other characters. Unlike Lemot, though, who is amused by the sport of controlling people and situations, Rinaldo is constantly using his role as manipulator to make fools of the other characters by exploiting their particular humours. As a scholar, Rinaldo considers him­ self superior to the other characters and not succeptible

-43-

'' ··- '' . ' ".' . .·. . .. : -.,.-;,.. , ~ ~,~- ·-:f\.:<.··:· ..:·1-:~,,:;.· .. ~·;--, .... }-.,~:~'.·~:--:~-.. ;,~·1:\. :;~:\;. ·< ! ·:· .- < .-,-r:)': '·> '. :-. -_: , , to tho1r roollah humours. Ho bll1evoa that 1t la ht,a

''· .•.• 1 h ,Q"' t:t. n·' • • • .~ .... n· i.:&'l rJ·•. .. 't,c1 t· .. ""'"''g.~~

p,o· .. -..·· '!f4". • ',),I' •'tr· ,.,..,.:-,l! ·- J • .t.~ 'i.•• ~ "' , \.·'.·,.ii;. ~-...... l. * '·

;., ~ t ~ ,iii .. ·:1- #. }i l i,. ,~- - ' • ""; ~- t " :,. ·. f • ...... l', < ... j • ~ . ' 0 ... ,II. J t ~ ., .ii, - ,ij, iiil' c_ ...._ . 1

!'I; ... .. , ~ , •. ir r . "-~-~(' ... ~ f . • ~ ' • t 'l'1"' "· ~ ,_ ·,, . • .. il y ' ~ '1 .,._ . ·- ·., ~ l ~ y ~ 1' jr.. • 'ti ... )r ;,.

•. !~ • ·, -~ f ~ ... .,, I; ~ i I'!... ( ~ J "• : '··"'!.. ~ .... 'l'f "I! • To ~ " ,.. "' ~ ' • .. >- "1 • "' ,, It • . JI, ... J

~ I., •. "~""' .fl • • •. ~i .... ·, · I ' , , t I i ~. .., • • .. ' ' ,I, •-. "P "ii ~ .". ~ ,-,. ·• ...

' ' \ ,. tl ,jl: 0\ J • , C _' i :1 .~ f •

. 1..,),, t ' ' ... ti-_, ,f * •

... . . "" ' . ... "I• • .. B~"".. 1 . •-~.-t .... J ·.. _,,.. ' :~ .. ., •"II!• ' • ••••• •.1 ... '~-~·1 ' .. ~ ';. '- '·- "' . ,, .... \,-- "" -i;.,,__ 1.-J t • I ·· • • . ~ .. ~ .'. .,.. """1 I. lo f -~ • 11_ I' . :II{' ,I f! , "' ,,,,.~.· ... -. .. • ,..... • • ~---· • ill- ' ·' • • • ,. • I' ~ .. • (,... TI*-~ .·• 1 • ... ' 1·. ~.•.. ~,.- ·· ... -.., '. .. .. · ' I ~ ~ '° ·1 ··~z··-,'I 0' rii . ... • ~·#-~ ,• ' t • -#_ h,'".' 'lj• ~-' ;.,,, \....I\._.,1 •)..Ii,, ./...... • ' ..

~"'·"'~ ,~.-: ...... \J:< ,, __ • ' l. I t ' ' - • 1o ' •

1'r\ ., ...... •·. , ,..: .~

ii" ' .• .• I. '~ ', ' • ·. 1 } Al ...1 ' 1', ~ • - !_ .. .. ~,,. ..' .,.,I'~~-.,.,. . ,' "' ' t - !1 '· !...... • • .• •. • , .i. • .. .. t .. en • ' .. , l ' • :' .... lJi-.4.t)'

. r ,,· .• • r1.. ·... , 1 ·..... ,,.,* ..

.... ··)'r,·•1 ···\l·-)!,· All a l, ~ I. l_.'. Li , ._ ( . .., t t ,, rn H 1· ·, f • LI .. ' I • • • ••• ;, ' '. l 11 .I ' ~ \ • I ! t'.~ ' d , " ,J J. .._ , ~ 1 '--~ ii,,...t "t ...... l."" ':..,.._ 4--' • L..t. - ~, , I havt.: unJ10 :·s 'li, lc1id flat on carti·1 !'or gulls.

(V .1.1-16) From the very beginning of the play Rinaldo, like

Lemot, initiates the intrigues. He gulls Gostanzo into believing that Gratiana,who is actually married to Gostanzo's son Valerio, is the wife of Marc Antonio's Fortunio. Rinaldo then exploits Gostanzo's superiority

humour by encouraging him to take Fortunio into his own home and reform him. This action leads to the point

where the two couples, Fortunio and Bellanora, the closely guarded daughter of Gostanzo, and Valerio and Gratiana, are actually living together under the care of Gostanzo. Gostanzo does not realize what is going on, and even

I -44- I

\

. '· ,._.. ·- helpa mattorn along by urgtng h1a auppo1edly ba.ahrul aon

ftit•_- •~Ur••: ~...... ~-- ·1 ..... g~- .1,j. • '---; OJ-) .• ~.Jf),."i- )

and ~o to the home of Mure Antonio as Valer!o'o wlfe.

•· ' o· n~, ~.:l: •_ '"' - - C ·) n' ' -- ,-• rl 0··- "' (~ t'" ii - 4 C On l• l, 1.J. (; "J t_-- - -_ Hit~. l'\.f..: i.. ,.. (..., 0··_- ....._1 • ' t-._-o·__ , } i,; CJi.r;. n .• • -r)·~ I

comes to the rall~atlon at the end of the play that he

has ·uccn duped by the young scholar \t1hom he admires so muci1.

Rinaldo also manipulates the jealous humour of old Cornelio. His remarks, like those of Lemot in An Humorous Day I s 1•1.Lrth, cause the old man to concentrate on the subject even more than he has been up to this point. Both Rinaldo and Valerio make every effort to bring Cornelio together with Dariotto; Rinaldo even goes as far as manipulating a fight between the two, which leads to Cornelia's divorce suit.

In All Fools, even Rinaldo is gulled, since he be­ comes entangled in the web that he spins for the other characters. Unlike Lemot, he does not remain an out­ sider throughout the play. Rinaldo's own humour, ·his love of meddling, causes his down~all which comes when Cornelio discovers that he has been tricked into battle with Dariotto by Rinaldo and Valerio. The old man decides

-45-

. -; to got ovon by croattng h11 own 1ehe1Ht to brlng both to--

a::. -..· ,I_ to.n C, .. •~.... go. ""' ' ' .~· '#

•t n' ....• ..;•.. .'-.:~ti.. '"" ..~-

•:.'i··1 ', '! .·, Oo, "1- .I t ,, l,_ ';,i * - '· ' '

ii . I" .;, • ~-~ ...... ,, . ~ ~ . . '. l. '"""": 'j' ' II •: .•• '' ~ '"' r .. --. ~ ,· ,, 1.• ,, ... c···t. '·. ·~~ \!', ...... "!'.a,, __ ~~ i • •,--, ' • ' • - ..,., i.

• • ,· ' ' ,,. ~ T "it • - j .. -,,

".. ... ' ~ ..... ' A, -, p' .,,

t" *" fl ,.- ·,: ' i ' " , f t ' ...., ' ' ' • t 4! : • 'f"l'!J r'i .... t ( t .;;) ~ _.._ \_ J "*' "- ... • .., , ., " .• · 1t er -11 • ··'· ·"·' • M • f. _(_ .• _. .- ,. .di'! •

. ' .. • • .. .. . 1 1 f. , • -. .~ #' • 11 .--,.. -. • •• ,, t.· t, .:. I , •.,.. 1 ...#. -·-...· • , ' ' ' ' f'I . ' I' ' I • • ' • ·, I ' . ._ () 11'1l I •· • it ..,_ II ..,. • • _• .,, ~ ,:- 't" , 1- ,it _._ -.._ "-,~ * ""-·_,) 1lll it t . ..1., ,.-tt* _,._, ' .....,,. -.-.-,tY.i~

. f ~ ! ~) I jt . ·. 'f'"'); .• ,. •- ~:.~-· -•.:. -t,.,j. _..-:_ • • r ,. 11 t1m1) tl r • (V .1.58-63) Even Rlnaldo realizes how stupid he was to all{)\,, r1imself

' ... ) . • .f "' ! . 1 JI • .., ~ 'n t··~~n;i .. .• •.. .. , __j ·L.A. .,~ i t_. t ¥ } _J,. •> .• \.; (JT • ..1I L:• C'.~ I·o· nt'nt • C· · n "i.~ d,. ' ··11·1·,'"'· a- .. ·~- .....

du 11 .'1 l :1 \' t:· t.J a; S· I t~ o· ·,.)_ ·... ,, 1· "\ l, ... ~ .- .. 'Ll l· ·1 ' l,.-1· " ( V { -1 r;, O ) .._, "' '-' 1 , v L .._. V I, l ~ V t.1 ,, . • i. •"'- • '· • Rinaldo is not giving up his role as intriguer, though, since he hints to Cornelio that there may be action to come. He

remar1 ks:

Perhaps my friend, or I, before we part, May make even with you. (v.11.84-85) Thus, Rinaldo, like all of the other characters in All FoolsJis a fool, and finds himself in the position of

being fooled by other fools. Both Pock, the surgeon, and Master Notary in the subplot are foils to Rinaldo. They too are scholars, but their particular humour is to emphasize the trivial points of learning, as minute details become more impor­ tant to them than basic ideas. Their speech is both

-46-

:: , :.

' ' verboa@ and pre tent 1oua. When aaked to d!1gno1e

1_ .. 1,~ l"" *i... r'l1. . . '.....,, t I ri f I r_· ....· •• n-·· """'" rt·,., ·.' ·it .IJ ,,.l1i • ,~-- , cf ~· ~ rJ- 0 ~·1- ··-,. Pl ---" i~J !f , ...- ,- ta not

. .,. .. t•·.; 't'l" 1 '"· :1,,.. • ~- ', .. (. !. ('" ..~ ,.,., • .,, ~ ! ·\ ~, "" .... ;...... ,jl ' "" l·· -\ i ~ ,. ,,. _1,, _, \_', ;. ~ . J ' --- ..,. ""' ·' .... ". j .. ·• .. ,;j * ":O'- ""···

••• .f. •. •. . ;#... " . ..,, •-il•J/.,.(. '*t.~ •.;,..( ..--J- .

rea:d tt1c dlvor~cc papcr'U '"J1lci1 he drew up for Cornelio,

n t .:• r No.· "'"C i, (' rt • ...., V ""' t· a,....,, p· 'l Ma ,. "' ,_.f " . · •• .» 'l-J •

.. '·t . •• ···'t ' / .• 11·· i ·'·.··· .. I . ' ~ ~l 1 lc··.1"__ •·_1,P_-..i "- "''"' ·r·J·· .- m.. {· '"" •L. '" ·~. n r- ,~ ·c·1~ 1 ('\ t' .. t .. '•• ····'· J .: •. • , r, "' ·c· -.. ... '.-.J - • 1-,J t'. ,o· . I ,. --~ ) -:i I ·. : ~ ..... ~ • ·Ji~ . \ ., ,, t" "' ; .i,, .. ~ ,.. reari • .. " •• ... _, ...... ,,.._. •

~ +r "'. t .- Ji ... ' ... ~ • -t ' . ' ... .,. ( • .. •· h ~ '. . ~ l .: . , --t, ' ' ' -., I!' : • ,, ,,i_" , ..i ,- ,, ¥ 1 • - .. ii,; "'· * ...., ~ ~.~~ ·- "' •...... , ¥ * ... . . "' ,.. • ·- w • .lj- t.. -• If! .,, .t

• t ' • • • ' ~ ·- "" of' t ' T '\ • ~ ~ i, 'l -'j 'I • "' ., • ' ,,..) '· '" ' ,...... "' f ' •• • . .,.. t . ,. ... " ,.. I l ':, \- "!.,,. ~ _. j "lC •. ~ '~ 1t J ' •• ' ,., ...... 1' -~ \ •'-._,,. +,...... ' fJ ..,. .... ~ ..... ' ( ...... ·, ·. ,·1 - , ..... ·.I'.,~ . ~ . 1 ·~ .. ... "'-~... • " . .... '"\, , ' , • '\ °d; _.., C .. .. ' ' '1(1 ,·1 ,f. 'ff' + ... ", ...... , • ~ r ' ,, !_ ·~ ""' "'- • ... :11 ' 'f-:r

.- ,. + .- .. f r '1 , y· . ·. ' . >it • -11 . f" •,·, -··· l .... , '. ·, ~··· ~'. ' J. • 1 ... , 't ..... ~ . ·, ... ,. '!·· ~. " ~. . f: ~ ,.,.--~ ...... " ..... •.• " j...... , "'-; :·"" .. l l . i. J t a ..., \ , -j k.. .I .., • ;, • I;._.. • .,..,,.,...... }

! n ., ,. ' ·• '.• 1 · i · '. j , · ·1 ·· , · ~ · , · - : ~ 1 ' - ' • l 'f ~ • ' . ' . • ,. ', 1 ' ]l"'. (_..._ t ...... -~--- ...... <.,. " ... ~ --- ~ • .. ' t. • \ '''/"'.f. '!', .. • • .i "-' N ·•• "

• ,,..'!. , , f i J . i , i r i • ' ~' ' • , ' ' - • f"'I - r .. • ···- .. --· :~...... • < I • !._ -','- ' 1.-~· ~ ...,. I .. ell ! _,,,_ t ...... ' .,~,. ~ oj \. .'t1 ...,_,...... 'l!'"ll"': . ,. ,- J ,- 1 \ ·, " . :, 1 ' l '\' ' ~ , ,,. J ., , ' I A, ~ i i:-, • j. .... ' .I. ... ~ • .- ~ < ' .., ... , ' • ' ~ t I , -.-·1 - • ~ ~. 11'"1 t_,. M,. ,. t • '" J l_ 4 l a J.. • ,L , \ . .I f,u t, C ., ,. '· ,;,, • '. -~_.,· F• • 1 '·_I '·. , ' .,... \_ c \)- •• .- •• ·' ' .., • j -, -If • • _,. .. ~ ... ~ .• '.f '· ..•~ ...... -- . .-- 1 ~ 'I r ' ~ 1 .. ~ -.. ". ": ,-.,.. ·~ . 11 ' t ~ .• f' t .. • ,·.,--.:"1 ~ r '~-~ t:C'~I~.~ ' /. I ) > l • 1 t I .. ~ ·...__. tJ I\ • i , "' · , •. ·-·- ·· ·

- -' . J 1 . 1 • 1 n·; -,1~ .r i· .·): a- n····\_,1. • ._ r • ,_._ - . ,_l. -- .... -. •• !_.~n -, , •-'<'l'()''• - .• ..._,. ._, .• ._ ~,-,-.-ri> L, .__. (~i1·1c.1. ,. i ; ,,r o- ..,., Ce ,._ J _._ ..i., ...., " .... her, from b8d ~vour and your~ 0oard.

(IV .1. 305-316)

All Fools contains both humour charac ter1 s and an actual plot. It is, therefore, not a complete comedy of humours like An Humorous Day's Mirth. In the play,

humour characters are a major consideration, though, and can be found in both the main plot and the subplot. Chapman borrows the stock characters of the strict father, the indulgent father and their respective sons

from Terence, and he develops the characters by adding ... ~: and emphasizing particular humours. It is at times dif- ficult to be precise about where stock ends and humour begins. In the subplot, Chapman deals with the jealous

~47-

, I humour or an old man who ta marrt.od to a youn.g at.tract tvo

i·_ ti,.·· '.·,._', '.' '"··.. - i4· ~-• ..,,.,....1 " . 1---. -.•'·. ~·-" ,, ... , '.n~- ~·.It.• i -\r.'· J.... ··. r~-- ~-r""'..1;1 '!;..,i. -• .. •- 1 · •.Jit-. ::i .., "' i°"' ; f".'!I womnn. .- n , ,., ~ n· ~• .J' -~--..ff.,....__.·t n __ , ..r,.

-... ,· Ii' ,, ' f . ,~ --[·,1'r"- "·.• ,, ·~ ~- • "'! -·

,, H •' , ...... '. <· _.t; " ,o--- .. if f- '- ~ ' .--- .,._ _., l<-:.~ ,· '

V

In May Day, the humour characters are still very importarit. It 13 Chapmnn'n only play written for the

MaJ, Day does helve actual plots, and the cl1ar'actt:t'~-: com­ plement the action. The play is an adaptation of

A11 c :: c111 ci r1 o P l c c cJ l o rn _L n i r s c orrun c d .~ c:1 c r,u d 1 t a , J\ 11 e s and r o •

Par 1:10 t t exp la 1 ns tl1a t the c onunc cl :Lcl c: ruci :_ t :-1 ~.·.: ti ~,3 cl s c 11 o o 1

of Italian comedy based upon tJ1e plays of Plautus and Terence (732). Thus, as in All Fools, Chapman borrows the stock characters and the pet situations of the Roman comedies, and develops them into realistic versions with life-like characters. With regard to the humour characters in the play, it is even more difficult than in All Fools to say precisely where stock ends and humour begins. In May Day, Chapman also continues to double roles in order to provide contrast. He compares two senile lovers, two scholars and two intriguers. The

-·48-

,, i; h•mt0ur character• orror relier rro11 the aerloua elements

n Mn~ntf!co of the c1ty und n mcm~cr or

o . (. , ~a .k,, (_ I f ti' i .._ -..,.-l (·'<, n th ,~ ,.1 1 ~l . .. .j ' the Lorcn:_:o cons ldcrs

fi m-.,_- ~_t , • 1 f' ' .. ,_ · .,. ... ~"' "''"-" • •.J: -,, .... mu C h- h " • ,,, .. • ' i - _- ln love with F~anccs~h!na,

• ,-\ ,-) he 1.i, .,. ·'--·-•'.n _-• CJ • lrJ

Well, yet will I say thus much for my-

A_ ,- 1 - 1 f \•,· r1· ~--.. '"' t_;'-. ~-.. (>.._j- "~. '\. • "'_·' ' ,C' \_ -;J_ '.. -, r,, ,-.. t''l - --· , t. 1 ~ '"'c·-. (~_ .. c't •- l. _ • .' 1. r ,("\' ,.,. ··--·.' ~-- ..' _ t., J , "" .. tn,.-_,. ,.., ., • . ~ n 1 t ·- ('~ . - ·, ;,_ 1 ~--1 s e - "'" ,(\ ,. , ., , r ,a, r· e--' ...... ,. -· +.-.-. i,._(' .t, ~ ' '

-_ 'f \ f , i1) ! 1 ' • C 'f) 1 • f • \ ' • ! ( • • ·, ! " • .,...,. ,. t " ·_ j. 11 ,.. ·--·' the .., •• -"" -•• __ , A to. ic ·--~ • io ..

't\·~· ,,-,'""~, .. f ...... * '· t • . ..,~,a~ t ' .•. , . ~ ) ", ( 'l F 't ' «; • - f ' I • "'Ill ,r, ...... ' l ... " '..... 't. ' , - ' the~ , "-',,,.,.--' . .. "'· -·· . . ' .. . . ' .- • ' " - 1 ' t ~. ~ / -f j < I .. ' ,I. .. ~ ' \ \ ..., . ' ' l ' I ... : • .i; -- ·• - • .,S \ :.i • I tJe I ' ~ 4 1 . l t- • Y") ',- ~ "i .. • ., -·~ ~ 1 • -, , ' j 'r \ • ' i·· -, ·1•·)··· ' ~. • I i ~ ! -- ( ~ ~- .,c_. I ""-- 1 t .. i ..• 1..~~ jj,, • 11. \. } ~ . .. i '· •. '--'- • • ' , , . . j, ' . ' ' \ ' l , ,,. ' 't ,. ; . . · } •, ~ ;. .... ,"' " ...... ,, .,. .. " -. ,t1·1,- I • , • .... , I ' I i I i ,. ~ 1 ' 1' ..... ,; ..;;,' , ·~._... ' \ • • I, • - - ' ~ - .k ... ~ .. _ ___. '· · .• - I I I' J i ., I, , • • ... I .. • I"< ... -1,)l•r- . J • ., .... ·- .I, :· ~ ' .• _ _.. # t •. ~., ·- l • ""- •~ --~ ._,I "'I' ,. ,...... ,ri_' .....,1,/.._j.C, .... '>,•, •;.','I '·il'1' }'1'',· I I • ~ w \... - • ,. \ •. it. ,._ • "' ~ .;. ~ . .. i ·.1,.·:r1,

\' ' s \ e • , • i.,~ .. I , , . , I ·, . ·- , -r, -.. , , . ,. ·, 1 l , -. - - I Ji l I i,. __ ..• 1.,__,( n r1. , . . , • - • i { r, ..... J., . . -. . 1·1 ., WI .... "·.• _,.. ,le.'_.·· ;__ .P 1 ··,..·' l,-· .. ... t.( ~, l_... ·' l .. '·--·· ~- •. ·...... I . '-'"" -l-,) .. ,l ...... :> it 'rl ') 0 \ t • • • \ r, -L .._ r I l l ( ·, -... r ")'1 ; • " r' .... r I l . .f l., • l__. ~- l ,. -' -. ~ ~ ·- ,J .l ·~ J • ', -~ l ' ~- ' I • ' • 1 . ~ 1,.. : ; > • ~ - r , ' • I ' t 1· 1 t ~ l r .. 1 r1 ' ... r ): (. l -~ .. \_; j.;. ·-~ , ...... • f -- \~--' ..i. • ,_ .! .,;...... ] \ __ ' .. ,: ~ ~ _) , .. , • l {_,. lO\TC ~ to . -.. .., en1 rJ J_ :_) ~.- ')'·1 ~ ~ c~, ";' ~ • t ~ I 1 ,· ~ { ., h ____...~J '''---'--·- (,<,,>._) \ -- " J

1· ~ 11 r) t-) (·· . !" • ~ , n i' ; . , ,---·) ,--1 . ! ,_ ,. [ • -:: i , . ", .,. l • _...... ,,., ~. ·-~· 1 ~) \...-'~J , A.. ._) o l r-. ~ t... \,- ..., ... c ...... V L-l-.at 1 .-- . •- -,., (', ( . P L, , ,.... \. ..{ , l' __ L .. -.) V .1 ~ ,_) L-) l.J ,,. Yl')n--·--,1 . .-.•_:•~1 jn:1. }}')\!. ·~:ii· -,;--(JU· T\'ii ,.,.;_r~r.,--:1c• F .1 Cl.. _;. \ ' '-' ... ,, '· ' l ,I. -·· A 1,.__,, ) A - '--~ ' (,1 t__.l., L, ,) :..;1..,,,.ni(• ~ ) l l -'· ,__) L, • '-.., k.) ,_) - J. d. - .t .. ' I I 11 ~-: J) J. (; ,:l ci rn ~1 11 (; G ~] f () r~ }r Ou ) l_ f J_' a j_ t 11 ' t }10 ugh they 0~ my very purse-nets, wherein what heart v1lll not \vllling lie panting? (I.1.12-25) It is the extent to which Lorenzo will go in order to prove his love to Franceschina which makes him differ- ent from the stock character of the senile lover. This is his humour. Lorenzo is willing to do anything, even if it costs him money. He enlists the help of Angelo, who is well acquainted with Franceschina, in order to gain entrance to her home at a time when her husband is out.

-49-

I Both Loron:o • tt h,,mour and hta gull tb111 ty 1how

t,, .1"·t, .... •,, .• ,,f.. n· •"' • ,V · • ~ ·..• : "1,1, \.. " " :U.-,. "I. 1fc -'I*

Lorcn::o 1n so

Gasparo, who arc all aware of his true identity. They not to sweep their chimneys.

He does not count on her husband returning home so soon and on being locked in the coal-house to escape being c augr1t.' .

Lorenzo is basically a pathetic senile lover whose humour has been exploited. He has been purposely humil­ iated by both Angelo and Franceschina, but never once suspects anything. The only concession that Lorenzo gains at the end is that Franceschina's husband does not discover his identity. Gasparo, Lorenzo's foil, is portrayed in the fashion of Roman comedy as the rich old clown to whom Lorenzo in­ tends to give his daughter. Amelia wants no part of the foolish old man, but has nothing to say in the matter, since Lorenzo has o~fered her to Gasparo. Lorenzo

-50-

.. ~ _...__ .. ___ ' '

" c0111onta to Oaaparo concorntng tho 11tuat1on:

f !· .fl,; J, ., .. t~ ~ ~ .. • .

. . . , ; • r - ~ , 1 ·..-_ -1 ,. -. ( :i:. . •• ! ( ' ' • ·, - jl!_ ,(-"'f,". ~ • :,. < ' - ••,, 1 • ,,; • • .. . # ., ... . ~ ~ - t I !.. ·y u J'. ...J ;·, ·1,·, j .... :; . ' ., ... f~ ..;,,r.-._,r.-•-....i'.' IP Ii! ._, l. 'ff' !l" .. ·"' ' j .. loo l' .it W, -,,.: ! -;it ·-, .) • ·" ' ~

_.,, .. .. ' ' . ") J 'f• ' This ·.,·' 0 J, CJ• "Ji,~· 1 Ir 1't t')_ ~- ti ft _•-• :1 ft affair ~n_t (\--~ -,., ..... !s o!mtlar to the one ln -I ~ ---.._-~ «- ii y· .;)-

,.'r_ ... ~- ·.:i ,t n _l t:. 0 La ·o·. ct ('th a· • ~} f"" r)' ,t ,· ' {. ,. • ,, .. t ,~ l1 ;f"t)' f) r'J - .... ,_ Q w , <.;,i, ' \,_ '\..• JI ""' .. " ~ /.,. • • " ,,,,. ·~ ,...1 •

Gasparo's humour is the extremely cold, business-

·_, n ~- r ,- ~ ,; __ -_-_) -_, , ! ,.... ' \ ) "- .. \.,,' '. • Amelia, but he remains cont~ldent ti1at she \1i'111 be }1is possession, as her father promised. Courtship and mar­

riac;e a1"1e 11ancilcci 1n a strictly ·Dusinesslike manner" by

Gasparo, and hls emotions never once enter into the af­ fair. It does not matter to him that Amelia does not love him. In fact, Amelia does not even know who he is until her cousin Lodovico points him out to her. Thus, Gasparo's humour, his cold, businesslike manner, is ex­ aggerated to the point of absurdity.

Gasparo is not respected by the other characters who know him for the foolish person that he is and for his humour. They constantly make fun of him. The moment that he enters Honorio 1 s house, Honoria mutters to himself, "A notable wag, Signor Gasparo!" (V. i .24).

-51------

Lodovico vxplatnG to Nltella Ju.at what tho man 11 ltkor

!~ -- nn old rtnp-

····''_;. " ...r , 1 .. ·, • l'l ,.:,· 't 110 ' ~ ,; .. .,,,, l : . \I " ... '• ' ;,, :,. r ,

: •. , ( ' j. j; ~ ., ... ,,,

'" •' ' ''f t, ( "' ~ ~-,C .... ' "" ; t, ~ ,.t 1-' ' •• - ' -rl,. ~, - " ; :.Li. 'l' ,,; .. l ' ,. ' ~ • t.- '.?- • .,. ~ ' ·t _)

• ·~- ,-i • ;·.... ;< ! '

• ) f, • 'f ' • ' •11• •' ,~ ...._ j .,..,,. ( .. ' • ti .,_ '(. " i;, i ~ ,._ lrl - .,_ : -,.,. T 1 ;,lo ....

·, ·.· t Jo,_ "' r - ' f .. 1- ,, '" t. A~- .. '-f ,~~.., I ':'. ~.· '. i.1 J- -,.._._.,_1- 'I ( .. 1 ' • 7 .. ·, "' ..I . If''\ ( 1'" tit ' ; ' " ,!, .. •• " ,. t Jl\l •' !o - ~ \' 1 • .. 'I ~ ' ;. ~ . : ' .. ~ tt ~ "t.~ W!" t'"·f'"'r· l .., .. , ...... ~"r•,.,.. i. _It ,_., I a a , JI, -. ' 1 , "-r' •t·- -·• ri.'' ~,.,, l ...... ,~• ' jl '"' • t ~ !f Ill--· t y'

, ' ' ' ' f ' , •~· • ...... - .. ' . ..' ' . ' ~ "" L) '• # I ; Ill .• - ( ~ (! t 1 , .. ' < ~} ,,. .. I' .., "' ... 'I: "' ... ''"",,. ,,. ~,. ..

' ., "' I " ' ~ 'I!" • ' .. •• , ' . . ' ~· ~ ~ ···1 i; .,.. ., : .. ' • ...... ,,, ., ~ ..,. "' .. • "J • ' ,_.. -IP .. ~ ~ .. ' t

" -..... ~ .. , ..1 < .....) f ,~-1 ,.; .. ' ., , "' .

.·· .., ,. 1 ...... r, ., i • ~-· ~ Y "1 a :~ ~ ~._ • tl. ... . jo ' "' "" .. \o , 0 ?' • J . ·. •. ' r~., 1' , £ --. • .. ~ ( ._J ~ t 1 ~ , ! - ' ~ .~ t • ·; -, ... -·1'.· •. .\"'~~"';'fl fl; • i 1ll .i-· . ·-.,- .. .. -- t .. •'• • J • ( .-. " ~ :. . ·-.~. JII. I " • " ; '""-' .j ~ l: L ~·

(II • .t.64-78)

Gasparo, therefore, rece 1 ves no sympathy \•1.r1en he loses Amel.ta to Aurelio. In May Da~, Labesha also is con-

he too is a very foolish person. In the end he loses Martia, but the King promises to find him a wife. Aurelio is portrayed as both scholar and lover. His humour is melancholy, since he believes that his

love for Amelia will go unrequited forever. Aurelio sees very little chance that his love will be recipro­ cated, since Amelia has been promised to Gasparo. There­ fore, Aurelio, a quiet, passive man, decides to give up without any sort of fight to win Amelia. Clarence, a melancholy lover in Sir Giles Goosecap, reacts in the same manner, since he believes that Eugenia would never •

-52-

I' marry a poor ttcholar who ta not endowed wl th worldly 1u, on tho

He remarks:

0 ? .. ... ' • . ii'• h, £'• ""·.· £.t, ,bl tll ~.·l " fl ~ 'U1 (' •,,.,• 1·1" * c.-. ft..-..r Cit, 'J -? •'""• ~,_,. • ~ - l.-,. , Is l . ' • • • • " ' • . •" . • • It ~ < f ~ f ) • I ~ T ·r...... ".· -. '·r\ ~, .~ t~ "f 1 \.:•· J- * 1 " · .,. · -·. • • t • (. -""'- ,. !Ii ' ,.~ ._ ,. e I f t ..

.. , • '9; .. ' ~ r ' " .,, , j ~ ·~ r • '~ .. 1 " ... , • ( "' : ' • .-· "" .... ·, 'f) , .._ ' i "-' .. •, !_ -· -~ • "' • • ' ~ • • • l . -· ,.. ~ ~ ' ~ '\ :·. ,, .... J . 4 . ,. ~ ~ <* f I< -,-1! ' ~- f • .. ~ ( I 1 ", e'J 1' t • ' • '1 / "r i'"\ I I --. f • '! -0\ .. !". ·.tt I ._._., ... ,. ', " L ' "" • -VF.,. --e.,. n .. ~ I ' ·- I (. ~ ; .j. •. . ,·. " l . c'>- .. t .• ·--. ' ' . . !'"J/•, ,~ f • ,, ,, 1 ' ' ' . I ' • . '"' • J j • -, 't'l • f ii .f .; m.. (,.. " " ~ ! . ! . . . . . - • • <,.. .1~' ... ' -- ;- ' • i . • I •,. .·~, • • • • ·, · ' . ~ ~ 1 .. , I I -I '· I ?' 1 '· · 1 ' f • .[ - · ' • a t.,...: ~.- i. _. , , • ;I...... ,. ~ • -: ·' I , ....,_,...... "'· ,._ !· ' \ • j ~ I ' ( ) l' ••.~ ii, ... clJ., ~ t ~ . . ' .• 1., •. - • ' ~ "l l ' ' ~ ; ( .\ ... ' ... / ... , • .,, •. • .... 't -.. ~,·,"" ... , ,:··· ... •'•!.,!. '" 1lt ti, . ~-· I l...... ":'r'\.u .~ ' • ... ·- _.! • • ·" .. ·" • ... ,P- ! i • } .. ~ ...... 1 "' :t 'Ii.,,,_../ • r:-:.. · l-• f • - 1 I '!' '· ' ') • f • l1 f ' '. 1' .. l , l ? •-- l' 1 ; ~ 1 · '• • I ' ,-1 I ' , ~ , n- ~. \,., ...... , .. ,., ., • - ...... _. ~,;. ,. ' . t I • - -- ·' t ... L _.;;,__ \./ ·,_j, • .,_) I ' ~ ~ .._ ·-· ) .:..... L. , ~ U , .,. - ~ ~ .. J '~ __) -(,, •

( I • .L • .L __ ) ·; - 2 0 3 )

Lodovico finds Aurelio's humour contrary to \•;l,1at he ex­ pects from a true scholar, since he expects him to be

a11 act.L\,e person \·;.r10 sets r:oals and \•Jorks l1ard to achieve these goals. Lodovico would not even mind spending a great deal of his own time helping such a person. Lodovico states to Aurelio:

Do so, then, and I protest thou shalt never lick thy lips after my kinswoman while thou liv'stl I had thought to have spoken for thee, if thou hadst taken a manly course with her, but to fold up thyself like an urchin, and lie acalving to bring forth a husband, I am ashamed to think on't. 1 Sblood, I have heard of wenches that have been won ·with singing and dancing, and some with riding, but never heard of any that was won with tumbling in my life.

(I.i.221-228) ",Lo·do·tt:1.co .enc·ourages Aurelio to give up his humour and to

-53-

J

...... ~ ...• j ' ~ ... '' ' ,\ .. "'"t· . ' ·~ ' C' • • • \ .,.... ' • ., h. ~ ., ' ,. · ·"' '.· ,,1, .• ·d · ~ ~ ~ 0~ ,,. "" ·1...... - . ' . - ...... ,'.~ ', : , ~ ~- • 'l ' .

II ,... ·~. It lll "' 1 .. . ·• !I .tl , ( .· X \.' ' l··.· -..· · ,J Ul ~. .... Afl" ,,-t ,__ t...... • ... r". .- .J..

:1 ,.,., ... (., •• II ,, t,...,, .: A j.. '""' ·:-__ .~ ~ > \. ' ' " • ...... "''t111

~.,.. ' f" •'' ~-,, .*'hf - .. ,,,, and • .. .. 't;i-"''.. 'II r111'"1,.~~"'

r '!' f . . I ·" • .... ' t"\ ,.l i ,~ • . 111 • • . • '"' ,. ' ' • ' "' .. j .. C ... ,,j 'o,.-,' + i r·l · ·~ ,,·r,,,•,11 ,,,-1 vert:1 t i ...... ,,. '{ • 'lo,,,.- '\..,. ,,. • • ,J I I ( • ~ • • <.~ •- ~1y.,,,,.

Lodo·v1ct) to pl.:;1y less at belrig a sct1ola1~ ana znorc at being a lover:

I cannot abide this talking and undoing poetry; leave your mclll~luous ~umbers,

n -~ -.... ' r '~ '.; '' ~ .-- i I " • '. : I ' ' •• ,.ll.'. - ,., II 11 ' ' . 1 1 -;-1 ' 'l .-, ,,-~i .. , '>'·, 0 YO ..... ,, ... .,._ .•• ~; ...... V '- ,1. . {_,.-. ..l l.. • l. u ._; .j.. • ' . m

1 • -, ' • • • .,.• • ~ ~ , ·,· J·~1 ; • ,,., · _, 1 c· '. l "'1 • 1 • r · J.. 1 • • 1· ' · 1, · .. -. J ~ · ..._ YO ll ., , .. • l.· ,.., 11. ,J': , .l ) "- ,_) 1 1 , • ···~ ~ ~ ~ 1r ·,_ ·) •L l · ~• ' knees, you slave, adore. Now let's hear you invocate. (III.iii.10-13) Aurelio finally summons enough courage to pledge his love to Amelia, which is reciprocated immediately. Both refuse to go any further in the relationship, though, until they receive the blessings of their fathers. At the ~nd of the play, Aurelio is cured from his melancholy humour, since Lorenzo consents to the marriage.

Giovanello is also portrayed as a scholar. He is a foolish, young student from Padua who comes to Venice

-54-

...... m •to aee raahtonn" (II.1.627). 01ovanello 1 a hwnour

•. 1 • f'1 .. '-·

Q.u1nt1llnrlo asks , ••s•blood, whooc f<;tJl ttrt7 y,c>u? Arc

not ..·v, -o t1 ~-, }1<.:

.4 -~-·T f i ! l, 't 'i 1, ·1-,,-; 'I" ''. I .. • -1'"' .· •. - ' __.4t, 9 t+ ~.c- .4~ •-""'- , ( -! ,ti \_ .;'.I 1 , .. (•· w· Qu t_-~ q n ' ., ~1. h 1. ,, h 1,.. ... ,. ..., ,.,_., • t ..• ·- ! • ... 'to :o. ,ti ...._ c..

he- i'1a· . ~···· r"-;. ... -U• n'I1-1t: · i.r1 seaz,ci1 c>f from Pa.(Jua. He ste1tcs to Giovanello:

Give me thy hand, th 1 art welcome; and f o r t h :l fa ~J l1 l 1J r1 s , t h c) tl n 11 a l t f l r s t (i r 1 !'! }< a r1 d '-·/et1r•} !~-· "'·1 r . \..- ., jll i --, "-,-' J ,,.·,.r,,;i ,·~·1 ·i '.••• ·.__. ~•• ,·: .. (_,r)r,-~)'l<'i· ... · I i ,. ~ ... ' Iii ., -....-~ ~ ,_. \.._,J, _.. 11 1 '.'-~ ~ -~ i~ ·-_-1 l_' \... .. '-.) \...,..,, L~ - itt·le, . ., t• 0 ~ 'l' ' ' • ; • ' ·1 . . ,.) •n1' i "-· . '· ; -,· . r I -, r ""\ '"l • ' •. , . ~ ··_: i • r1 tl t ' .,.., " _) .:. -- ...,. • ~ ...,- ..!. .., ) '--· -,,. ..._.. • -111 i- t C .: ' "i' Cl , . i / ~ r ~l"l1 'l r1 ._!.. ~- '-' '-··" J. • ;._,.. 111 ,...... • V J (,... ~ ii .._. ...._ ,,J l U

(II.1.628-631) Quintiliano even goes as far as borrowing all the money

that the scholar has wlth him with no intention to pay him back. Giovanello never even suspects that he has been duped.

Lodovico is the main manipulator in May Day. His

particular humour is the love of meddling caused by the excess energy which he possesses. Lodovico is more of an amusing character than Rinaldo in All Fools, since he does not purposely attempt to make fools of others. He enjoys meddling in all of the action, since he finds it -~ necessary to find outlets for his overabundance of energy. Lodovico describ&s himself:

-55-

! • .~. > \ •-"· ·;i ,. . " . I I' ..,· · 1. ' '"".· ,..#• t •,, i., ~t .. - "l it·_,·"., - " .•

< ' ' ' •. • 1 " ·, ' , ·1 • : • -.'t.111 "",.· . ·.. · -. ) ..· " ... -.I -....,. . ·.- 'I:'·,. ,. . ' \ "' .-' i • 11, t t .. '.. II '< ( 1,1 a' ~ 1' ·• ; • . II' ,. ~ ' "' •' _. ,. I • 'iJ .• _, ...- 1-1 • , , • .• ..• •. L J-

.... !~ }~ .. ~ ... :" ' ; ' 1- ' .r .. C" f . . • .... •- ... '~ "' ~ .I.. f I • ._., ·- • - ' ' .

~ f; ;, ,: (' ... 'f t, 't f • 'f l • I ,- ' W •I 1 • I• Ii ~ . ., . < 1 • ~ ;.<· '.:.,·:.·· ""' .. . . ' . .. . , . ~ ',. I

...... ,•. ,, f • , -~ ( • "'. . ~ I i R • { ' • " •. ;( J ~ ->:• ~ ·+- " ~ • .. •• ·~ . t • <... ~ .. ! . " • 1 " It -- i,' P,, • '" ,t .. -,IL ,, ... 'f' - I ' "" 'I' " ... ~ .... ,e T . -o- .. J ' • "1 ~ ,~ .J.", •f cl ,

• "',..,_ 'f-'1'• J.. i-- 'l • ~ ,. ~ .. l ~ ,I...... ' -;'~ .Ill!! "." ... ' .\ 1".. • ~ !() {'+~ ~ ·::... i '~ , ' \" ·, ' • !I " - "' ~ ..,~·1 .. : ~ .r ' ... ~. • "' I i • - • ... ~ ..;, • 'I' .. • ,,. ii.. • l -.- ~ ~

,: ·, ( • 'I" • t_ " ...... ta, ,J

;. , .. ' .. ; ..... ~. ,~ .,.. ... ':'" t I, .. •, ,Ip ~ + ~ ,to t J

i i ' ' ~ : "'.,.. ". r , .. 'o ...... , • I • • ~f- .,-., ~~ 'j ii~ I .. - .. ' _, ' t, I "' " • • "' ,,.,,.,.~' .,.,,~. ., . ,, . ' . .,. . ' f ' .. ,.,. ',.. ·~-: ( ~ & ' ,; ~ r . • ... , ... I" , ... ('"!'' .-,~ t ~· ·, , ..... ,~ . .. ,, .. t -. - t • ' ,.._ ~ , ,,.-.,...... , ...... • ii' • .,._, "' ~ J

..., 1 ~ ' ( - ; '., l 'l I I ~ , ·· · ·. 1 • ' ,. 1 . ~~-:: . '' l. ':i f "' °1 ., f + t ~ ~ ' ' . ' ~ :t ~ ., • ... . . "°- llll -"" ,,_,..,.. , ··-, 'II .... ""' II , • .. " ..... ~ .. ,_. t .. -· •

,_._) : .·· , • ''!': ":'_-_. ·1·.-_ 11-)' ·u· :- -- .. ~ --...... ,. • .. .. ( ..a _p- ~ . t>· me

(III.111.136-148)

Lodovico I s humour will not al.loh· 11trn tl-:i be cp1let

for a minute, and he is constantly thinking up things to do. Lodovico is involved in teasing Lorenzo when he dis~ulses himself as Snail, the chimney-sweep. He also actively presures Aurelio to give up hls melancholy humour and to court his cousin Amelia. Once he gets the two together, Lodovico cannot even sit patiently for a short while in order to watch for Amelia's father Lorenzo. He becomes involved in a meeting set up for another man, since Lodovico intercepts Leonora's cue. He disguises himself as Leonora, and enters Lucretia's room only to find that sh~ is actually a man who is ready to fight him with a rapier. It is again Lodovico who introduces Giovanello, the foolish scholar, to Quintiliano, his future guller, in order to provide humor for those at the tavern.

-56-

' .. -· . . ' ,·: . .. ::· :. '· -- ·, :- . '.s.:.' .. _·,_:·,:_:·:~_ ',.:;·:-;i;~,~ -·.'~'.'"::?.• /'.-t/::: :{··:,:)-1>:. Lodovico 11 wall ltkod by the other characters,

or

H ~H .,, I 7 ~-. 1 I ' • ~ : ' ,J t·)··· )\\ t._~J.. • ..... ,i: _. 'lt ;y 'II -d ..,. . • " • •, . , - · .J l •

tt . r ""'." ffd·,_·. n_··. ,r 1 t· .·.a;· ~-'. 'P_ flfJ.. ' • • .*.·. ff_ 1_ c·_ .-- 1 .;, I M.J. ·'""'- ~'. : , Thu .. -. •- •: ...... - • ~...J ~i ~ V :.._ -. • -~ _._ -• but re- apected for the type of person that he ls. the play, does not

-f :o·. .. ~ ~ t .. ,. ~) • ~ , .. , ': _': (' ., \ i, 'T .. ! '"'1 ' 9 ·,. ( • t1 C ' f • ~, ' ! i ' ·, ; ' T \ );( '.", • : J · i • " \, '.j. • N .. '·--.- • r 'l ~ . 1··~ ,· "\ ~ r r" I (_ ...... ~ M / • '. • "' ••.• ~ ~"""'-" • .t !:.._..,.. \ .. llj _-" ,._; 1 e '.- ...... ),, ... ;· ... 'It 't-·-- ·._..,}' • •• , .. , •.. , .. , _.,J n ' J. ~- - --· .. Chapman'3 only comedy ···•" -l)* '-~' ("I.,.,,. ...; )

An.gcl()':J i1umour, lll(c: tl1at of L,odovico, is the love of

, .. ·~ ~ .. ,r' • 1 r. r ~ t_ ,111,., medci 1.~ !1[ i.n tr1e ..... _.__ _.... L-• -- ,_; 0. l Angelo ts the one

. l r) l ·, r1 ,. c·) Wh C) Clt..:V13C:3 tl1c t· .... ~ .. • • v

house by disguising him as Snail, the chimney-sweep. It is a very clever plan, but it is also cruel, since it ends up by humiliating a senile, old man. It appears

that he is punishing the old man for his feelinGS about Franceschina who is in reality Angelo's own sweetheart, and he intends to take advantage of Lorenzo for his moment of weakness. Angelo states:

I did ever dream that once in my life good Fortune would warm her cold hand in my naked bosomj and that once is now come. I'll lay hold upon 1 t, i'faithl I have you, my little squire, I have you upon mine anvil, upon which I will mallet you and work you; coining crowns, chequeens, bracelets, and what-not out of you, for procuring you the dear gullage of my sweetheart, Mistress Franceschina. (II.i.318-325)

-57-

.0- .. '

I Thua, Angelo, unlike Lodovico, 11 not 1n the lntrlgue

Captain Qulntlllano doen not i,avc a foil in the play. He ts portrayed as the bra~~art sold!cr derived

predecessor. He is an excellent tavern companion who is very witty and clever at mantpulatlng people and

t~ 0 ..P 1 ;_1 C (: 1 :3

round him. Quintiliano is not merely a stock character, though. In the play, he is clearly presented as a humour character. Quintiliano is not a real soldier. His humour centers around his boasts of false services abroad in order that he may continuously loan enough money to live in the fashion that he does. Quintiliano constantly loans money with no intention of paying it back. He will never leave home on any sort of mission because he is too much of a coward. His missions and his companies exist only in his mind and in his talk. Quintiliano spends most of his precious time offering prescriptions for such things as "gentility11 at the local taverns. Mary Crapo Hyde states that Captain Quintiliano•s

-58- --...... ------...... ------· ......

•mart. 1al proweaa la ltm1 ted to hta deac r1pt1on or a

1 1 an ,r~~... •·.. -,. •",• • '· ..j {· .·~ •.\.. •l 1i.~ ·• ll.. p 1O - t··· . • Llke All Fools, lt 1s, therefore,

•

develc)p;J t11t: cr·1t11~t1ctt:r:J t.J:l tlcic11nF-~ ;1r1c1 t:n1pr1a.~_1l::ln.g particular humours. It is especially difficult in May

Day t <) ci ~ n t.1 ngu :1 si1 pr"le c 1 se ly \.;/1e re ti1e s toe l< c har'a c te r

. . . ,. . r ···. lj rn ") . , r C n '"l .,. ' • ' ... ~ .• 't'" , ... L' ··:,, ., n ..... ! • ! . . I ' .._.., • •• .,> .ii • u .. d, L ·-' C ;.. ) {,.,. ~- .. .l. o..J • I_ C

acter0 (Jf'fcr relief' from tl1e ser'lous elements lncluded

in May Day.

VI

In Sir Giles Goosecap, the humour characters have been relegated to the subplot. Unlike the situation in Chapman's previous comedies, there appears to be little connection between the main plot and the subplot. The purpose of the subplot with its humour characters is to add comic relief from the serious romantic scenes of the main plot. Charlotte Spivack states that Sir Giles Goosecap "tolls the death knell o:f 'humour' comedy and - 18 rings in the tragicomedy of romance," The slow moving subplot focuses on the battles of ..

wit between three groups: a group of imbecilic. knights.. ,,

.. 59... .•. ''!. who donlN to woo l:..\Jgenta and her ladles, two oxtrctmel,y

1n the nubplot !n placed upon the humouro of the three

" .f~ .f ·:: • ,- :_ • k n. .•.-~, :r ~,• • :...... ) •

S!r Cillcn

Captain i;'oulweather is talked about as being •• a

dull molnt-l:,ralne(i ass" (I.l.f:58), who has come to woo

1 the ("c-'Utl~".t··~·'.~v .... _.) • .i....- -~ \,.. 1 , .J ...,;l , .J.. ,..( ..; ,·r1·.._. • ~"""~ (·.1·· • • , .. 11 1 '·".·"' ".~. 1 ;t·c1,,·1,, ...... I • t···.~t·1·· ~ -:._... lie,.... ,.. ~ ~ ~ 1···1·urno· '~ r lies in h1S

be 11 c f ti 1at he 1 D 1 r~ re s .1. s t 1 t.J l c t o \t, om c r1 • J a c l< , one o f

the pages, makes fun of him as a man \t1ho can domineer

and reign over women, but is afraid of doing anything else. Jac1<: states:

O sLr, beware of one that can shower into the la1Js of ladles. Captaln I~oul\•Jeatherl \·lhy he's c.l Cc1ptlnado, 01, Capta:Ln (Jf Captains, and wi 11 11 e ~L n t 11 c i r, ,J o int s , t 11 at L~ -1 v e 111 m cause to i·;or1( up(Jn then1, so r1ea vi ly tl1a t 1-1e \·Jill make their hearts ache, I warrant him. Cap­ tain Foul\vea ther 1 t~Jhy he VJ.ill m9-l{e the cold stones sweat for fear of him a day or two be­ fore he comes at them. Captain Foulweather1 Why he does so domineer, and reign or women. (I.i.59-66)

Captain Foulweather bears the surname "Commendat1ons 0 because as Will, the other page, states ••• he served the great Lady Kingoob and was yeoman to her wardrobe, and because •a could brush up her silks lustily, she · thought he would curry the enemies' coats as soundly, and so by her commendations he was -60-

i.

i . r' made Captain tn the Low Countr1ea.

..!. ., •.• .·. "" .;- ,. ~, )

II' fa, f q ~ I • '>\- I f ;. w.• ~ • ii' .•. i "i ·r·,,. ' f ;...

stuck tin ti Joke upon a :nan wt10 la actually r, ci:2;.;a:~c1, 0 as

,£,, ....' ~ 1· < .,..., l a·• ·t.. (:.. p·. 'flt · *... n ~.. " ( ·r...... •~ • ·1· ·O· ) •

t·' !.~ -:"1, ,t \ ' ho··.' -~~ ....,_., (,'i. 4·1 .,.) o- U c·_, C). t, _'""Cl. r~ ?1 rJ' r~ r)· .-:t .1.: 11 1n- '"~.~ ,··, - ·~ "" " • ta- .. __ . ")l" ~--· ·~- Q n "-' r· ·~ 1 ~ 1...... iAt ·t. a· ,-. !. 1 w "\.,p ·1_• ,--.)- f.. ..., __. A. _...,_ • 1 1 e· t,~ "" '--· 'ic ..l \i, ...... ,_,., s • "... .,. ~' · •·.· .'- .; ~. ••_.) ~ ..

to \i1omen.

F·otl l\•,'ca ther' s humour does not fare we 11 with Eugenia

r, r.\ 1 ·1 r; ! { • ( ~ and h \,.. - . (, ... ,l ...,... ·-"' , a.re

Eug!en1a .., . wortl1. ., esocc1a11,; olacesii, l1cr'sel.C ot1tsi(ie of r11s

grasp. Foulweather believes that the women do not re- spond to his charm because they are British, and not be­ cause of any fault of his own. He states:

\·n1y, tl1is is tl1e untravelled 1,trcieness of our gr1 oss nn[;l1s11 lad1cs no\·;; v.rollld any Irrench lady t1se a man tl1us, tl1inl{ ye? Be they any way so unc Lv.L 1 ancl fu.lsomc? Tl1ey say tl1ey wear foul smocks and course smocks; I say they lie, and I will die in 1 t. (I.11.46-50) In Ma¥ Day, Quintiliano too has a false impression of his attractiveness in the eyes of women. Sir Cuthbert Rudesby is a blunt knight. Bullaker, a French page, describes him as .. blunt at a sharp wit, and sharp at a blunt wit" (I.1.121-122). His humour is that he talks too much and gets on the nerves of the II other characters. Bullaker remarks:

-61-

•. him;

"t.,,- ~-' II' '• ~- -~ .. "1i ',, i ~ "l· i -·. ,. { -. i ' I. PJi· .. ~, 4·· ~··f'·" • .,. "' • " -( , ( .-4; •! Iii "' •• ,•/ '·

C I ' • ~· . . .; . ~ at ...-"!! t" ~ _,. ,f f_· """' '"r ,·~, '·· ; ,. ., • i_·} , t • •.· t 1_i_.. , i_.. 0 ,a .... ·- ,i,i, .. -.:,-'ii- ~' ¥-w··, ..• .. f ..•.•. ,.lil ... '""' •·'

·1· r , ,,_~ °f \ ~ • ·1 ..·1 , • RU ( .,,.... ,. ·' ( . .. f f Ji. ._ ' } .

• • f to his appearance a ?1 c1 11 .! o ma 11 ?1 c i · s •

mercenar"y noldle?" mc,?'c than a l

c go a o r1 g \•i J t, 1 s s ti n • i c:~ 1a· r ... (~ C ~\ ' ;,, ... S wh 1 11 1 l i1 .1. t a. t - "-' '-' ,.J .I. ·"'·· v \... a·' a-

~ ro • 'J'() !') ~-) """' .;. (: P (.) t l.. • ,·1 c• • • • he• ~- r,J L, f f , t~ u. .l. \.I ._, U . 1 \,~; ,. .• J ( ... 1,.)

1 , slorvenlv'L· as a ;3\·,.tt::cI ~1r1ci ~~;c)rnt:'i·:!:~1~. 11l

1 0 n e t n :'EiC C :J C) '.] ; !' [) I r l l~ ~,,; C ~i. : :~ ~1 ·: 1.l. ;:; ! l b Ca I 1 d 1 '· 1· 11· • ~ 1· • · - • ' , · , · ; ·. • · 1 ... 1 .; ~ • • i r·1 · , , · -- o· 1 '"' · 11 ·. l:(_: i •. !. ·r):1r1,)r1-:,t1() l. ,.l~- ~J ,_. _:~. ,,.ls..... • ._.:.. .·.:_J -

1: • } ' . -, '" '. i () () ~ t ' ' -r ) -, ~ (, { -~ I ' L. r ( -• Pa C. .: .._ J • ,. c t , . __l -~ '-... ..· 11n1 c ' ·-: T1..;L, ' '--__ ) ,__,... ~ ,_ !· .1 ~ .._J .....,. n1 ... C.. , __l '.•. r·, .. ,_.. 11 your· l .rencl·unar1 in i'oul bc)ot;:J, c:.1nd cic1r1 c:~3 c:at garlic as a prep[a]rative to his courtship.

( I .1.123-127) Sir Giles Goosecap is portrayed as an extremely foolish knight. Like Labesha in An Humorous Day's Mirth, Sir Giles plays at being a knowledgeable person, but always ends up looking very silly. Sir Giles' humour, like that of Labesha, is his lack of maturity. Like Rudesby, he has the habit of(repeating certain words and phrases in his conversations. Bullaker states:

Sir Giles Goosecap has always a death's head (as it were) in his mouth, for his only one reason for everything is, 'because we are

-62-

..

' . 'i' ~ " ' ~ "· 1- • '- r' ~ ; . 'i -. ... • ·, t " l,.. .. ! .. (~, .,•} ,;I... J .: "" 'f -' f .l, '1 0 ._ · I ., • f .. ~ .. ' -jli. PI 'c,. - ..,: ,. .. f'v, •,#,;- p.t,1~~ I\_ - '-

~- " ' i__ 1_ • ' • .. -t ...... n: _,

,,. •. l .,... l ( .1 • -~ • ' l ... :,J - ... l· .'J, , )

When S1r Otles attempts to woo Penelope, one rJ!~ l~t1gcn1a•s

ne:... ·J 1 :1_· a vcr~v.. • _if,, 11...... ,...,, ' nd

f)_' c_· •• ,_. •t ,··1, ~') simple : ~ • • _) ./- t'I "

his reason is for desiring marriaKe, Sir Giles states:

., 1 ' .•. J . • 't" . ' ' , , • ( - I i I" .•, L • i · ..... d , .,. ...) .... marrled men's parts, ln truth. (V .1.81-85) Sir Giles' gentlewomanlike qualities are brought tb the surface, and Penelope mentions that he does not need to marry, since he is both husband and wife himself (V.i. 76-77). Penelope finally comes to like Sir Giles• qualities, and decides to marry him.

VII

Monsieur D10live of the play by the same name is I one of the last vestiges of a humour character in a comedy by Chapman. Like Sir Giles Goosecap, Monsieur D'Olive contains two plots, a serious romantic main plot and a comic subplot, which appear to be only roughly connected.

'· --63- Monstour D'Oltvo, 11kt aoat or tho ambaauadora ap..

1 t (" d --d·· t, '"" ,,-- ~ ... , ,.,, ('t "''"' ..... t -c,! d··._ •"!'; _,. n·-- t_':1 !_- l_- ffl·_- po 1- n . .,, ··' - .. -.• * ;,, ,r,. ~- I' f ~ ,~ ':::: • .... -~. ·-- , i • .,,. 11 .,.. ,. ·<,-r ...h . _'l ·",J t_• .,. p__ -.tJ !·" t g,,.__ •- .n t.

....,. -' '

It"~ fr""'"<· I'-, .. ' T"I •I; ~ ""'' ... t# ~ ill ··-- ,, ·-~'P., ~ .... I' •

a·,IF - - '1',"~_'I·I r1·_' ' ,[.d·_· f-· n ·iu·- .i;,f_ •tt,. . c·., .J - ~ "· t,.--

D1 0l!vc'n humour !n h!3 conceit wh1ch

' ' . ,1··,. ,-~ &__ t·•,, .T f·1 ~ t i ' I I • Ca• ·~-· • -~ 11:\._, •• _J, ·-·' .. - ...... ' ·~ .. n :J tl C 11

f_ I I • ,I 'J' · J. 1 !'l '' . ·1 ' ... ---~ •_- • 1-:e--·--·~ 1, .,.,_l ~." -, -,,· , , ..._ t· -~I • .,._,..- .. ,,,. I,_ ,.._ "" ,__ -.. _ '"-· , 11,,.. - :· "·" ,. •-' J. ., v U I

• fashions, etc. itc tit.ates:

Tush, 1nanl I mean at my chamber, \t1here . . ~ 1 ,,,., . l •t .- __ • ... /"1 ~ ~- we ma,, ~ I, "! 't..,. .. _ ·- .. - • c. ... L -~- d' . . . .., ...- I • ~ .... ,. -,~);' - 1 , 1 " , •. ! __ ,i-, s •-,· ,., ...... -' tij, .. 1 d r~,1 . .!·- !. w,. lo . ,. .•' ,. " . ,', l. l,, -

, \ ' I 1 . • ~ f • ,· ,. ,. "'i .. ~ f .. , ... + .. ~ ,, .. i _>1,,-t,. :ru11 · ~ ... -- "f ,I. '. lllj. - ,I ,. ¥ --- .. . 1 l tl -<\ ... , ··: .. I r ~ ( ., .. ' ' ~ r '" I t . 'A ... -- ~- , ' ,, • - • ' __ . ! • ~ , · ' 1 1 ,..,.1 O ' • .II •...... , . -- • ~ l.. C • i. ~ .... • ..... alt...... • ~ , '·· - \'. ~ .• ' : . l '. . -··) i J r • l .. I . .. . ' , . , . ~ . ., ' ' .. ~\ ·1 ' , , r ·, .. , • ,__ --'iii, . ..-... V t. L-J. • ) I I • • ', ' ' _) ) ,. • l "1 I J .. --•.' I, \ . ' ' . ' ' • • ( 1 ~ ~ ' ,_ .• ,-1 '·'O 71, 1 .-, n1 , -- ) I., ', ; .__) ~- ·1,._1 1 -. , ~._,, .. • .... __ .. r1. T r·.. .. • .. - It" 1 r, .-.. '.j ., ~11"" : .J - i·' j : •L _.a" n• y f___ .• " ) " _) ' "--~ .. ;. ,Iii J.. l.. ...

' l • : . '"'" ,.,,,~,..,- ... __ (\ 'Y; ' t • 7 -~ rt t · ' . . ~ .1 ,. ) '· 1 ( .... ;' ~ F J " '° ) 1· • '1. ' ·9 0 f' ~...... A ..i.. "-'" i ~ ,l\' l.i.. ,1-•. ) '-. ' . • ·- ' ' ,_) J "--· .• \- __) .. ,) ( __ ,4 '- ~ .... _ 1- _) \..,l '_., J . :· ) : · - ~ •1 -1< t- , ri ,.-1 l , ..Ji._,· '.. __.I ...... ~... ' I.._) "-- .... "' ~ )_--"'-

~ -· l ;· --4 ,. -.. "': , ..,., ·1 -· ..,_ ,,. . - ' ""' ) , • 'i - , , 'I ·1 ,_ -. •_. f ' f ' -• tha .. i_~ '-~' I. \.).,.,..1,._.,-....i_ .... _. __ ~' ,_.__,, ~-, LJ.. " - \ ~.,.., - r1ours ' r 11,-....,r ( ., \. ~ ·-, ·1 1 ' t }·1 \_ _.., LL I , ) J ~ c1 .... 1 '· a I; -~ 1 , 1· -~ .(> ..... ' q e C () n ().'~ 0 ~: I \ ( ;' r1 1"1 i } i.: ,I ·-, ! ' ''. '' • ·:, I .---)- 1 l ,-- '' c1 : ,,, ._., \... J .• l __ ., ~- .., ,...... _ '-" J I Ii . J. ..._.. _.. \.- ·1 '1 ; 11 l..- '- __ • • ....._ "· LJ.. ~ ,r '- ., ~) •J ~. 1... i..r. .1... er- 2, C) 1 enc e .f' l c a r 11111 r: , I-1 C) r1 o t1 2~ , clue 11 l s m, criticism, and poetry shall be disputed. (I.1.299-308) D'Olive is very proud of what he considers his own per­ sonal qualities, and would not exchange places with any- one. He states: Tushl Let the Court follow me; he that soars too near the sun, melts his wings many times. As I am, I possess myself, I enjoy my liberty, my learning, my wit; as for wealth and honour let 1 em go, I 1 11 not lose my learning to· be a lord, nor my wit to be an alderman.

(I. i. 316-320)

-64-

• D10llvo later atatea, "I a.dmtro noth1ng but vtt" (I.t. 32i)) •

1.·.'. f.') I'·• H i"I, ! ~.J ~II 'ft~. ~.·· }.''rui'" tin;. ii• of• ~. l'i; '°.·• 1· ;~ CJ ("' .a··.· .. n· .J \.-.,. " ""-" 11·· y \.f· ".:~,.. i ,,. I\,, r¥.. · ...·. \,,r""11,,, ·\,A t.·•-..+""1, • -~~ 11' ~' "f"'~U .. ""'· '· 14 y·

D1011ve procrastlnates a great deal about h1s tr1p.

He han accumulatcrJ 1nt1n,,.. f .. ollo-...·t~r:i but little clne. In--

he

1 _, ~ _,,. "' ·.,,, f ,,~ ' ' • •' '. ' ' .'· 1 "'. .. [. ; . ' • ,. I . , ,...... , ~ ~·••'11 ...... , 111 ··II f • ... .._,J·

quart e rs sh o u 1 d b c fu !"' r1 .l n l·i e ci •

work. Before D'Ollvc han a chance to set off, his trip

to pet1t1on the

., • r ~}t,.'. •" I\!.. ·1 T1·L -. ~-.·'3

is no longer necessary. The body ls buried. Hls com­ panions exploit D'Olive's conceit and foolishness, since

they t{110\·J e;.:actly \·.rhat type o.f a per1 son he ls. They en­

courage him to pay suit to Heronime, and he comes to court dressed as a woman. He is made a fool of for his

actions, but is forgiven by the King at the·, end of the play.

VIII

George Chapman worked hard to develop and advance the comedy of humours, but never received due credit for his work. He was never really recognized by critics as a great writer and innovator in tpe field of humour

-65- comedy. H1a audtancoa recognl,:-:od h1a talents, though,

("' A+ilt 't f1l {1' l-, ti.·. c· 't~ , . l, 1 ;; ii

l . ' ,' l ·,, ~ ,, l·,,. .w., ' ' ,. ,, j /, ,.,J! • ' •· • '; '. r. ~· ti t_1 .,,. ·'"" r ,: 'i \f 1i•. ;O_.. '>, 11 Ir b', 'IW·· 1ft" ~- ',. ~·- lfll ltJ ... . t:·o\. 111: .;.. t ' },~ , J,..,~ 1.,_,: f

' ~ ~ , , ,_.•rt'.. ·,.•' f' , ' ., ', •; ...... ,.. , ~ ' ' • "~ .f ' •. Jj • .. •.• ' • ' ' • •. .. ""t_' ... "·· ~ ''t .. "' ... ~ ··- ,i • -~-•Ii~. {.-·'· l.i .,,. \_ Ii .. f. ~ i. !.: '-· ,. -, ~ ~ •

j,p '··~11.r.. ' p· l 0,,,. ., ...... ~ Thus, '"'*"""" '" ', ~~

come·dlcr.t In Ci1apmi1r1' a

acters found themselves. In his later comcdlcs which

do include plots, t}1e humotl!' cl1aracter's often con1t)lr2ment..

the act : r> r1. 'l1 l1c re ts

' .,, i f -, \ ' • . • t o r1c 1 c)t1nc .t n C11af)man s 11t1.r;1ou r'\ c on1t.: (1 t cs, since his purpose to exploit the foolishness and vices of his humour characters in an amusing manner. Chapman simply e;

an absur1 dity. He does not attempt to find a cure for the various humours of his characters, but attempts to expose their humours to his audience in order that they may reflect upon their own foolish whims and vices •

•

-66-

!'

- ·-· L.

- ·-··---·-·------·- .... -~-..,,- .... -· ·-· ...... _,. -·-- -- .. . "

Notes

l One who reads copy ror a proorraador.

,.-) .. ~ .. ~- t ,, "· • . , ' . ' .,. • • ,o; l! • . . • .,. 1 •. ~. • • v.. .' ~.. , I I ( , ', 'l, ·o I # ~ ti f. -Iii ...... ) '· .,____ ., . ' -If' • l • ,_ ¥ -lf, .,

\ ,. ~- 7"" ~. ''f ~ ' •..• ,

' 1 1 i , • ., , •.. # • "I''< , • i I • • • , . . • I • IJ ·, w '! ' ' . , f"'!~· " f , ( , f ' I ,. f ' ma, ,- ~ 1:~ .. -- ""- u .(_ ,,_ ~, u ~ ~ t :. '!'.. . ~ ~ ,., ~ > j' ¥' ..; ~ I,. ~ • •• ~ ~ ~ " '1 ,. •

< ""'\" L, , 0 ' ( ~ ., . .. f " ,., ' .. ~ ·, ' , ....., .. ., ?~ ~ ; ~ l' ~ ' '.· .. ..,, . . ~.. ' ..,, ~. .i • a C t1 _ii" .~ ~- · , .·} J =. ... · • Mi- ""' ~ "I i :.. ,, • ~ J 'f" I' ii!! 'I,,.,-~ • If c.> C. 4li ""'- ·--- ___ \ ,_.,. .... " • *----• • 1

. ,R!i;; )'i ... "·· . I I :, .- __ c J ~ • ~- l •

5~3plvacl<, p. 59 • .r {J C.H. Herford and Percy Simpson, eds. Ben Jonson, {Oxford: Clarendon Press, 1927), III, 432. J\ l l :; ll tJ [J C - q u e n t cl tl (J t l.: : -~ the c cl.:.: ... ~- ,r1.

7Juhn J.inck, Jonson and the comic truth, (Madison: The UnLvcrslty of Wisconsin Press, 1957; rpt. 1966), pp. 47-L+S.

8 Ben Jonson, Every Man in His Humo~r, ed. by J.W. Lever, Regents Renaissance Drama Series, (Lincoln: University of Nebrasl(a Pr1 ess, 1971), p. ~~90. 0 ~c. G. Thayer, Ben Jonson: Studies in the Pl2fs, (Norman: University-U Oklahoma Press., 195'3),p. • 10Enck, p. 52. 11 Thayer, p. 27. 12Ibid., 29-30. l3Spivack, p. 60. 14 '· George Chapman, The Pla~s of Geor~e Chapman: The Comedies, ed. by Thomas Marcarrott, Rpt. (New York: Russell & Russell Inc., 1961), I & II, 498. All subse­ quent quotes will be taken from the edition. 15 Spivack, p. 68.

".,_i.~~~·

, .. , :.,- .i.•;:-,,. '~,- .. ,.;,,, ,'.. o•··:, ' 16 M. ! 11.11 r A Crtt1eal • (T ,o.-.. ' i•· l·.'.i,l '"'.·,; "' If•. I -i. ,,,,i r J ; i) t

·~· 1tf ! ~··"'. 'II I :• •~ $ 1600- f . ' ----.B•F,.•-··=·· ·---· ~. -..i!""•··=

.~·

-68-

:,

"", . B1bl1ography or Worka Cited

••. 'tt: 'I 'l, ' • 'JJ 1 ' (' : ·, ' • ' ,. l '~~ t' jj .... • ...... ,, ' ...... " t.• '- .•• !,,..ii>- •

\tf_• "-l!('l ._Tn) _t _t :. ~i tt., .. t. ~s-· r .. • .., .-..... ~ ,_J ....._. \..,t k ~ r * ~ J ,

Enck, Joi1n J. Jonson and the C(Jn11c trt1th. Madison: Ti1e TJn1ver'sity o.f \,ttsconsln Press, 1957; rpt. 1 CJc--~j I._). r·,

Herford, C.H. and Simpson, Percy, eds. Ben Jonson. 11 vols. Oxford: Clarendon Press, 19~7. Hyde, Mary Crapo. Playwrlti;1~ for Eliza~ethans 1600- 1605. }IevJ Yorl{: Columo· a Uni ve rs I ty Press, 1949.

Jonson, Ben. ~verl Man in His Humour. Edited by 1 J. \/. Lever. Ret:ents Renaissance Drama .S2ries. Lincoln: University of Nebraska fress, 1971. MacLure, Millar. George Chapman: A Critical Study. Toronto: University of Toronto Press, 1966. Spivack, Charlotte. George Chapman. New York: Twayne Publishers, Inc., 19 7. Thayer, c. G. Ben Jonson: Studies in the Pf9~3· Norman: University of Oklahoma-P-ress, •

... ,... __

-69-

' 1: I . Vita

R1tn ~1nr1c Ty:·1:~k!c,11.tc:?, the r1rst of two children

> ' ,, • ( '~ • • • - , ... ( t - I _' ; .. ' .. ~ - ., .... '- ,, ·1 ' I • 'I ••-_ . Jl.. ~ ' ' -+ 1i - 't ' \· ' C ' .•- ii! .: • ( ..1 .. , -.,....

attc:1

·1 <-r} f --'\ • •. ,f"i 'T''t - _ ")i1 1, 1 .... -1,.,·· 1 ..... -om .• -v ne

- - 1- , - - • I' - . . 1.,. 1, .. ~ ) , . , , J _. 1 , -,. 1. • ~ ,. , 1_ ~ .. , ·-·1 , ::1 nr1' f• f '"1'r.,.,.. · "',. r- R'- \"" ..... --!~•• • , • .-..,. _. .-Jj.,. .. -l' t ... ~ C ·, ·,. 1 , l .... l •. .;. ....~ ~' ...... ,. ~.-_.... • .. _\..,-• •

1 4 ll e r u r1 d c ! 'r; l' a ci ll a -~· c e du c at 1 o 11 \•,; a. ~J r' c c e 1 v e d at Slippery Rock State College (1967-68) and at Indiana

Un1vt.:r':,_:1t:l of Pennsylvania where she r,ece1ved a

., . ·1 j . - . . . • . • - -"'• -· , • r ,' ~ ,..,- '-l 1- -'f . -- i n t nJ , ...... _.J ~ 1 . _, ,.1 ll c c .. 0 _L lJ 11 in 1971. While at Indlana, she also completed r·equirements for a minor in American History, and was a member of

Ph1 Alpha Tl·1eta.

Presently, Rita is a full-time student at Lehigh University completing work on a Master of Arts degree in English, and expects to graduate in May 1973. Dur­ ing her two year period of residence at Lehigh, she has served as a Residence HaLl Counselor (Gryphon) in Palmer House and in Stoughton House.

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