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A Critical Edition Of Elkanah Settle'S 'Cambyses, King Of Persia'
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A Critical Edition Of Elkanah Settle'S 'Cambyses, King Of Persia'
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This dissertation has been ~
microfilmed exactly as received 6 7 -1 3 ,7 3 6
BARSAM, Richard Meran, 1938-
A CRITICAL EDITION OF ELKANAH SETTLE'S
CAMBYSES. KING OF PERSIA.
U niversity of Southern California, Ph.D., 1967
Language and Literature, m odem
University Microfilms, Inc.. Ann Arbor, Michigan
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
C op yrigh t (c) by
RICHARD M E R A N BARSAM
1967
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
I A CRITICAL EDITION OF ELKANAH SE T T L E 'S I
!
I CAMBYSES. KING OF PERSIA
I by i
! 1
R ichard M eran B arsam !
A D isse r ta tio n P r e se n te d to the
FACULTY OF THE GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In P a r tia l F u lfillm en t of the
R eq u irem en ts fo r the D eg ree
DOCTOR OF PHILOSOPHY
(E n glish )
June 1967
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UNIVERSITY OF SOUTHERN CALIFORNIA
T H E G R A D U A TE S C HO O L
U N IV E R S IT Y PARK
LO S A N G E LE S , C A L IF O R N IA 9 0 0 0 7
This dissertation, written by
......... Richar.d„MêÆ3ja.3 . 9i r . s3 œ .........
under the direction of his Dissertation Com
mittee, and approved by a ll its members, has
been presented to and accepted by the Graduate
School, in partial fulfillm ent of requirements
fo r the degree of
D O C T O R O F P H I L O S O P H Y
^ Dean
Date J u n e , . . . 1 .9 . 6 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DISSERTATION COMMITTEE
Q 2 2 < u ^ ,. t P : .
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CONTENTS
Preface...................................... . .
Introduction ................ ..................
Bibliography ....................................
CAMBYSES, KING OF P E R S I A .......................
Appendix A: Postscript to 1671 Edition . . . .
Appendix B: Prologue to 1672 Oxford Production
Appendix C: Plot Synopsis ......................
Page
iii
I
VI I
Ivi I
1
,8!
100 I
102
11
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PREFACE i
This edition of Cambyses is based on the third quarto I
(Q3), published in 1675. Between 1671 and 1692, the play
appeared in four editions: 1671 (Ql), 1672 (Q2), 1675 (Q3),|
I and 1692 (Q4). The fourth quarto was apparently set from
' the first and does not substantially differ from it. The
1 ;
! second quarto makes considerable improvements in spelling
and punctuation. The third quarto was, according to the
; title page, "revised by the author," and it includes signify
; icant variations. It is shorter and more concise than the
first two editions, eliminating the following: Act I,
Scenes 3, 4, and 5; Act II, Scenes 1, 2, 3, and 4; and Act '
III, Scene 1, and parts of Scenes 2 and 3. However, it
! also makes the following additions : Act II, 390 lines; i
; Act III, 145 lines; and Act V, 2 lines. It may be assumed
,that Q3 represents a more effective acting version, for it
; . !
; deletes some long, tiresome passages without sacrificing
I either plot or style.
i I
Î The text here presented is based on a xerography copy
j I
I of the Huntington Library copy of the 1675 edition. The
i i
following quartos were collated : Ql (Huntington Library),
Q2 and q4 (Folger Shakespeare Library). Through the gra- !
icious cooperation of Dr. Fredson Bowers, who provided me I
: I
with unpublished material from his forthcoming monumental
bibliography of English drama from 1641 to 1700, I was able |
iii
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to save many hours of painstaking work. According to Dr. j
I
I Bowers, there are no "significant" variations among the j
! i
j many extant copies of the four editions of Cambyses. My ;
I gratitude to Dr. Bowers for supplying me with this informa-j
tion, which obviated the necessity of my checking these |
copies, cannot be fully expressed. His devotion to scholar^
I ship, ready wit, and willingness to aid the young scholar
; :
are surpassed only by his landmark contributions to the
study of bibliography and textual editing.
The textual notes which appear above the rule at the
bottom of the page record all significant departures from |
the copy-text edition (Q3). These do not include variants i
of accidentals such as spelling, punctuation, or capitalizarr
I ■
I tion. For uniformity, characters' names are silently
expanded in speech prefixes. Additions to the stage direc-i
tions of the copy-text are enclosed in brackets.
Spelling has been modernized along consciously conser-|
I i
native lines, considering the limitations of a modernized
: text, without sacrificing the linguistic quality of the |
I I
! original. Settle's inconsistent use of ye, thy, you, and I
i your has been regularized to you and your, except in the
I oath Ye Gods where the original has been retained; like- |
wise, thee has been silently corrected to you, except where|
i
end-rhymes would have been disturbed. Durst has been ;
modernized to dared, and dost and doth to ^ and does, I
respectively. Inhumane has been changed to inhuman. Set- j
iv :
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tie* s inconsistent use of hath has been corrected to has
or have, as has his practice of frequently using then for
I than. E* re (for before) has been silently corrected to
I
I ere, as has 'em to them. Punctuation has been modernized,
I especially where it is likely to cause confusion or obs-
I :
curity. Excess exclamation marks, semicolons, and dashes
I have been removed so that the verse will be intelligible
I '
I to the modem reader. The use of the apostrophe for
I elision has been silently corrected, except in those in-
I stances where the metrical pattern would have been disturb-j
I • '
; ed. Dashes are used only to indicate interrupted speeches
or shifts of address or pauses within a single speech.
Explanatory notes which appear below the rule at the
I bottom of the page are chiefly concerned with glossing ob-
i
I • :
; solete words and phrases and with stage directions. Refer-'
! ences to stage directions are keyed, decimally, to the line;
of the text on which they appear. Thus, a note on 65.4 has!
reference to the fourth line of the stage direction follow-
! ;
I ing line 65 of the text of the relevant scene.
The appendixes contain the Postscript to the 1671
; edition, the Prologue to the 1672 production at Oxford Uni-i
I I
I versity, and a synopsis of the plot. Cambyses has not been
j reprinted since 1692, either separately or in any collec-
!
; tion.
!
I
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
INTRODUCTION
VI
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I. SETTLE' S LIFE AND WORK
It is difficult to account for Elkanah Settle's repu
tation amid the fluctuating moods of history and the un
predictable shifts in literary taste. Some critics have
charged that Settle's early and frequent successes were
owing to his adherence to theatrical fashion, rather than
to sound literary merit.^ Others have supposed that his
writing, while prolific, was nothing more than an attempt
to seek fortune and favor from patrons. But despite the
colorful and often controversial aspects of his life, Set
tle' s work has not received the comprehensive modern criti-
o
cal attention that it deserves. Recent critical studies
^Lewis Nathaniel Chase, The English Heroic Play (New
York, 1903), p. 208.
^Frederick William Fairholt, Lord Mayor's Pageants
(London, 1843-1844), p. 122n.
3
It is no depreciation of the labors involved in Frank
C. Brown's pioneering study Elkanah Settle (Chicago, 1910)
to say that a new study of his work is necessary. A great
deal of vital information is provided in Brown's study, and
without this research my task would have been much more
difficult. But many new sources have been discovered since
Brown wrote, enabling us to establish a more reliable bio
graphy and more reliable texts. However, little has been
done to incorporate these new discoveries into a new study
of Settle.
vii
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have overlooked his large output of plays, poems, pageants,
and prose works, his influential contributions to English
staging, and his spirited participation in some of the most
exciting literary squabbles of his time. Compared with the
work of Dryden, Lee, Otway, or Rowe, there is no consistent
level of merit in Settle's plays, but there is need to un
derstand how such a "minor" writer was successful in adapt
ing the literary mode of his day to suit his enthusiastic
audiences. Malcolm Elwin writes :
As the best picture of Victorian times may be found in
the pages of the novelist, so that of Restoration times
is to be seen in the drama. Heroic tragedy played a big
part in the theatre; it provided, in fact, the most popu
lar entertainment during the greater part of Charles'
reign, and Settle is more than a pawn in the problem of
Absalom and Achitophel.^
Settle's first play, Cambyses, King of Persia (1671),
is a mature example of heroic drama, exhibiting all of the
characteristics of this out-dated and unrealistic genre.
Cambyses is important within Settle's canon because the
enthusiastic reception of its first production brought him
critical and courtly attention and patronage, and it pro
vided a solid foundation from which to enter the world of
London theater. Its production helped immeasurably to se
cure production for Eknpress of Morocco (1673), his most
4
The Playgoer's Handbook to Restoration Drama (London,
1928), p. 110.
vxii
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famous work. It is difficult to think of a playwright for
whom a first play was so significant, not only to his early
career, but also to the total body of his work.
The life history of Elkanah Settle is replete with
high surges of drama and excitement which kept his name
before the public attention for most of his seventy-seven
years. 1 think it may be justifiable, within the limits of
this introduction, to give some space to a general account
of the author and of his works, for such information is not
easily accessible today.^
Bom on February 1, 1647/8, in Dunstable, Bedford
shire, England, the son of Josias and Sarah Settle, and the
oldest of five children, Elkanah Settle received his primary
education in the local schools. He was a King’s Scholar at
Westminster School by 1663, and on July 13, 1666, he matric
ulated at Trinity College, Oxford, where scanty records
indicate that he remained between midsummer 1666 and early
1671.^ During this period Settle wrote his first heroic
tragedy, Cambyses, which was successfully produced both at
Oxford and in London before he left the University. His
decision to leave was no doubt motivated by his failure to
attain any recorded scholastic achievement, the successful
London production of Cambyses, and the attention and favor
^Brown’s study was published in a limited edition of
five hundred copies and is not readily available.
^Brown, p. 11.
ix
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he was gaining from members of the court (p. 11).
To become a successful writer in the late seventeenth
century was no easier then than it is now; nevertheless.
Settle seems to have achieved a maturity of mind and expres
sion without an apprentice period in which to practice and
perfect his craft. He found his special talent early, and,
with few exceptions, carefully followed the limitations of
the heroic drama, occasionally modifying and enriching the
genre, throughout his career. Indeed, Cambyses may be a
thoroughly conscious academic attempt to meet the require
ments of heroic drama with which Settle, as a student,
would no doubt have been familiar. His Cambyses was follow
ed by the extraordinarily successful Bnpress of Morocco
(1673),^ the work which occasioned his long-running feud
with Dryden. Soon after the success of his second play,
the fickle court adopted John Crowne as its new literary
favorite, and Settle found himself in open competition for
a place among the dramatists of his time. It is this shift
in favor that no doubt encouraged Settle to widen the scope
of his writing to include political and religious pamphlets,
but this appears to have been an unwise decision, for his
frequent shifts of political allegiance brought him dis
favor and provided his enemies with the necessary targets
^The London Stage, ed. William Van Lennep, pt. I,
vol. 17 (Carbondaie, Illinois, 1965), p. 219.
X
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for the destruction of his literary reputation.
During 1674 Settle* s famous quarrel with Dryden began.
In that year Dryden collaborated with Shadwell and Crowne
in an attack on Settle* s Bnpress of Morocco. The Dryden-
Settle quarrel reached a high point in Dryden* s sketch of
Settle as Doeg in Absalom and Achitophel, Part II. Con
sidering the extent of the controversy, Dryden is genially
contemptuous to Settle;
Doeg, tho* without knowing how or why.
Made still a blund*ring kind of melody;
Spurr* d boldly on, and dash*d thro* thick and thin.
Thro* sense and nonsense, never out nor in;
Free from all meaning, whether good or bad.
And, in one word, heroically mad.°
Between 1671 and 1680, when he turned to political
activities. Settle wrote and produced six plays, including
the heroic tragedies Cambyses, Empress of Morocco, Herod
and Mariamne (1673),^ Conquest of China ( 1 6 7 5 ) , Ibrahim
(1677), and one comedy. Pastor Fido (1676), which marks the
end of Settle*s use of the heroic couplet in drama. It is
clear that Settle knew his audience, and his early success
was due to his sense of dramaturgy, as well as to his pa
tronage. His self-confidence, lack of restraint, and
g
John Dryden, The Poetical Works of Dryden, ed. George
R. Noyes (Cambridge, Mass., iy5U), p. xivii.
9
Although this play has been attributed to Samuel Por-
dage, evidence indicates that it is, in part. Settle*s work,
^^This work has been attributed both to Dryden and to
Sir Robert Howard. For a discussion of the problem, see
Vivian de Sola Pinto, Enthusiast in Wit (London, 1962), pp.
108-109. xi
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insolence --factors which marked his career from beginning
to end--began to develop into self-destructive elements
during these early years.
After Charles II’s restoration in 1660, English politi
cal and literary history were marked by frequent plottings
and counter-plottings. In prologues and epilogues, pre
faces and dedications, notes and observations, attacks and
replies, almost all men of any political or literary impor
tance became involved in a quarrel or controversy of some
kind. In these controversies Elkanah Settle achieved both
distinction and notoriety, for he was not only quick to
determine which side to champion, but also he was clever
enough to be something of an opportunist and, for some time,
to shift his loyalties without damaging his reputation. Al
though it was a common tendency of the period for men to
shift "from Republicanism to adoration of monarchy, from a
truthful serving of the Catholic church to an embracing of
the creed of the English church, from Whiggery to Toryism,
i . Settle's enemies denounced his flexibility with
considerable success. At the beginning of the Restoration,
Edward Phillips remarked : "... his soaring up to too
much affected and immoderate heights, which I take to be his
chief failing, may possibly be allayed by the more mature
judgment of riper years, he being yet a young man." —
Theatfum Poetarum (London, 1675), p. 38.
^^Allardyce Nicoll, A History of English Drama, I,
(London, 1965), 127-128.
xii
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Settle was the court favorite of Charles II; his Cambyses
was dedicated to Princess Anne, Duchess of Bucclugh and
Monmouth, and this first patron no doubt ^'introduced him
to others of the court, whose favor and patronage he was
13
soon to receive." After several years of great popular
ity, he lost much of this court favor and became the liter
ary supporter of the great Whig, the Earl of Shaftesbury,
until the latter's defeat and exile. Settle then returned
to the Tory camp, under Charles II and, later James II, but
when it became apparent that James could no longer rule the
country and that William of Orange was to "conquer" En
gland, Settle wrote a poem in honor of the new King. Later
he eulogized Queen Anne in poetry, and when George I came
to power. Settle wrote several works celebrating the Han
over succession. In short, his political allegiance was
founded on expediency rather than on consistency or sincere
conviction. Although such expediency may have benefited
the poet because it gave him the publicity he craved, it
also brought him into controversy with men whose power was
stronger than he had, perhaps, assumed.
Settle's involvement in political affairs began with
his support of Shaftesbury's campaign to exclude a Catholic
monarch from succession to the throne. This strong anti-
13
Brown, p. 10.
xiii
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Catholic sentiment developed both in and out of the Houses
of Parliament, but it was outside, in pageant and in play,
that Settle made his contribution. His Female Prelate
(1680), a violently anti-Catholic play, was a tremendous
success, as was his Fatal Love (1680) which offensively
ridiculed the priesthood. However, the strongest, and
presumably, most effective of these dramatic productions
were the Pope-Buming Pageants of 1679 and 1680, elaborate
spectacles seen by great numbers of Londoners, marking the
high point of Settle's activities as a Whig propagandist.
His Character of a Popish Successor (1681), a pamphlet ex
posing the designs of the so-called Popish Plot, initiated
a series of attacks, replies, and counter-attacks; the at
tacks and counter-attacks were, for the most part, argu
ments directed against Settle's character rather than at
his ideas.
As his enemies predicted, Settle's loyalties shifted
from the Whigs to the Tories upon Shaftesbury's defeat in
1682. Despite Shaftesbury's friendship and support. Settle
renounced his allegiance to the Whigs in April, 1683, became
a Tory, and made plans to retract the Whiggish sentiments
expressed in his earlier Character of a Popish Successor.
His public statement came in A Narrative (1683) and Supple
ment to A Narrative (1683), but despite his avowed recanta
tion, Settle was not trusted by all of his contemporaries,
for "as a turncoat, a Whig, and an organizer and writer for
xiv
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his party, he was always obnoxious to the Tories, whether
14
before or after his recantation.” After James II ascend
ed the throne in 1685, Settle's polemical writing became
noticeably less frequent and less important than it had
been in the preceding years of political controversy. He
celebrated James' succession with a poem, and even though
it was in praise of a Catholic monarch, this poem does not
seem to have caused any controversy; no doubt Settle's
contemporaries had ceased to take his political views seri
ously. Little is known about Settle's life between 1685
and 1688, and following this period he ceased to be a con
troversial figure. However, there is much evidence that
this colorful, controversial playwright and poet was more
than an ordinary figure in his prime. He was considered by
15
some to be a formidable rival of Dryden's. In fact, both
X6 17
John Dennis and Thomas Whineop conceded that he "won"
14
The Works of Thomas Otway, ed. J, C. Ghosh, I (Oxford,
1932),-ig;
G. Ham, "Dryden vs. Settle,” Modern Philology, XXV
(1928), 409-416.
Remarks Upon Mr. Pope's Translation of Homer (London,
1717) ,~pT~TZT.
17
"A List of the English Dramatic Poets,” Scanderbeg
(London, 1747), p. 282.
XV
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the Dryden-Settle quarrel, if such a victory were possible.
Furthermore, he was Shaftesbury* s choice as the leading
18
literary supporter of the Whigs. Also, his Character of
a Popish Successor stimulated a controversy as significant,
if not quite as extensive, as the one occasioned by Titus
Oates' Narrative. And he was praised even by those whom
19
he had ridiculed.
The accession of William and Mary to the throne in
1689 and their apparent lack of attention to Settle's work
brought an end to an active ten years of political writing.
In 1691, Settle found himself in a familiar position: out
of favor, out of work, and out of money. Perhaps wise
enough to realize that his days as a political writer were
20
finished, he returned to the stage to write five plays,
to compose the libretti for two operas, and to create the
drama and spectacle for nine Lord Mayor's Pageants, in ad
dition to the commemorative poems with which his later
years were so occupied. Three of these five plays were well
received, and his version of Beaumont and Fletcher's
18
Heraclitus Ridens (London, 1682), No. 50 (January 10,
1681.
19
John Dunton. Life and Errors of John Dunton (London,
1705), p. 243.
20
Distress'd Innocence (1691), The New Athenian Comedy
(1693), the Ambitious Slave (1694), Philaster (1695), and ,
The Virgin Prophetess (1/01).
X V I
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Philaster represents a notable achievement in heroic }
I
drama.But Settle’s genius for creating theatrical spec-;
tacle, for gaining audience favor, and for winning finan
cial success isv nowhere better seen than in the two lavish |
1 '
I 22
! operas which he created; The Fairy Queen (1692) and The
World in the Moon ( 1 6 9 7 ) While the ingenious staging
and the integration of music and plot in both of these
operas are a credit to Settle's career, contemporary ac
counts
make it plain that what swept the audience away was down-j
right bedazzlement, the splendour of the scenes and
machines in conjunction with lavish costumes and large
musical effects. . . . The spectacle became an end in
itself, of course, and eventually, as Cibber so loudly
complains, nearly wrecked the theatre.24
The years 1690-1706, during which Settle returned to the
stage, span a productive, but isolated, part of his life.
The varied output of his plays, pageants, and operas during
this period has been noted, as has his relative avoidance
of political involvements. Yet in the years following this !
i 21 !
j A. C. Sprague, Beaumont and Fletcher on the Restora-
!tion Stage (Cambridge, Mass., 1926), pp. 198-202.
' O O ‘
I For a discussion of Henry Purcell’s score for this
! opera, see : Willard Thorp, ed., Songs from the Restoration |
I Theater (Princeton, New Jersey, 1934) , p. 9l. j
j ^^The music for this opera was composed by Daniel !
jPurcell, Henry’s brother, and Jeremiah Clarke. !
I OA \
I Robert Etheridge Moore, Henry Purcell and the Restorer
I tion Theatre (London, 1961), pp. 120-122.
X V 13-
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period, as in the years preceding it. Settle’s scrappy
nature and enthusiasm for conflict were too strong for him
to overcome, and once again he became involved in national
political affairs, chiefly through his commemorative poems.
Elkanah Settlers last years, from 1706 to 1724, were
clouded by a nagging worry over money, for he had no sav
ings; the security which he so doggedly sought had eluded
him. As his political interests were revived, he cele
brated several important national events in his poems. He
continued to seek favor, and, perhaps, patronage through a
wide variety of poems commemorating marriages, deaths,
births, anniversaries, and other events in the lives of
the nobility. He became involved, briefly, in creating
productions for Bartholomew and Southwark Fairs, and
25
wrote two new plays for the legitimate stage. During
these years his reputation dwindled, his name became less
controversial, and his work, once produced lavishly and
successfully on the stage, took the form of pedestrian
poems bound in covers of his own pathetic design and
craftsmanship.^^ He worked desperately, but he was never
again to taste triumph or the excitement of a squabble with
an important contemporary. In 1718 Settle entered the
^^The Siege of Troy (1707) and City-Ramble (1711).
^^Cyril Davenport, ’’Elkanah Settle',’ City Poet,” The
Connoisseur, VI (1903), 160-163, 210-211.
xviii
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Charterhouse, a charitable institution and school which was
27
anything but a poorhouse or "workhouse," as one writer
called it, for it provided the pensioners (including many
famous alumni) with comfortable rooms, good food, and a sum
28
of money each year. After a lifetime of insecurity and
anxiety, indignantly climbing the shaky stairs of patron
age, Settle must have been greatly relieved to know that
his last years would be spent in such comparative comfort.
On February 12, 1724, at the age of seventy-seven.
Settle died, unnoticed and uncared for by a generation
which had forgotten that he had made influential contribu
tions to English drama, that his name had been spoken in
the same breath with Dryden’s, and that his plays had fil
led the theaters with loyal, appreciative audiences. His
burial place is not known (p. 43), and his passing was un
noticed by most, although the following obituary appeared
in The Briton, and its cynicism seems fair justice for a
man who loved a good fight and a witty attack:
As to Mr. Elkanah Settle, he was a Man of tall Stature,
red Face, short black Hair, liv'd in the City, and had
a numberous Poetical issue; but shar'd the Misfortune
of several other Gentlemen, to survive them all.29
27
Charles Dibdin, A Complete History of the English
Stage (London, 1785), iV, 187.
Brown, p. 43. ^^No. 29, p. 126.
xix
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II. THE SOURCE OF CAMBYSES
The source of Settle's Cambyses is the life of Camby
ses II, son of Cyrus II, King of ancient Persia (529-521
B.C.). Although Settle does not acknowledge his source,
he probably read of Cambyses' reign and conquests in the
accounts of Herodotus. Settle follows the historical out
line of Cambyses' life, using the material of history mere
ly as a background for the standard story of heroic love;
however, there is one change of major significance: the
treatment of Cambyses' death. The real Cambyses had a pas
sion for conquest and destruction quite similar to Tambur-
laine's. He was an epileptic and "a maniac, dangerous and
30
forbidding." After his bloody conquest of Egypt, he
turned homeward, for he had received news of a serious re
bellion in the Persian capital led by the usurper Smerdis,
31
the name assumed by the scheming Gaumata. ^parently
Robert William Rogers, A History of Ancient Persia
(New York, 1929), p. 83.
31
The name of Cambyses' younger brother, whom he-killed
early in his reign, was Smerdis. For a study of this con
fusing story, see: A. T. Olmstead, History of the Persian
Eknpire (Chicago: University of Chicago Press, 1959), p. T09,
XX
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disillusioned by this hews, Cambyses killed himself before
reaching Persia. According to Rogers,
the wretched man had excuse enough for self-murder in his
madness and the news of the appalling situation in Persia,
for the whole insubstantial structure was apparently
ready to collapse in a serious rebellion, the origin of
which goes back to a disastrous act of Cambyses at the
beginning of his reign the murder of his younger
brother . (p. 83)
In Settle's play, which begins at the close of Cambyses'
successful conquest of Syria and Egypt, Cambyses does not
react to the rebellion by suicide. Instead, after his re
turn to Persia, he is killed by Prexaspes, his villainous
confidant, who attempts to gain power for himself. For the
purposes of heroic tragedy. Settle adapts the historical
record with considerable freedom, but, as A1lardyce Nicoll
shows, such historical stories and foreign characters
"were all warped out of their national characteristics and
made to live in one world--the world of heroic ardour and
of dauntless courage'.' (I, 131).
A second possible source, a tragedy by Thomas Preston
titled Cambises [sic]. King of Persia, was registered in
1 5 6 9 , but a close reading and comparison of Preston's
iplay with Settle's reveals so many significant differences
Iin all areas of interpretation and treatment that it is safe
to say that both playwrights approached their material from
different points of view and that Settle apparently was not
o o
For a note on the questioned authorship, see; Chief
Pre-Shakespearean Dramas, ed. Joseph Quincy Adams (Caiabridge,
Mass,: Houghton kifflin, 1924), p. 638.
X X I
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influenced by Preston's work. In fact, aware that his orig
inality was questioned. Settle defended his treatment of
the Cambyses story in the "Postscript" to the first edition
of Cambyses;
And 'tis the pleasure of others, to accuse me of stealing
out of an old obsolete tragi-comedy called Cambyses [sic].
King of Persia, a play which I had never heard of till
this had been acted; but those that I have seen that may
find that I might have borrowed better language from
Stemhold and Hopkins C Elizabethan poets 3.
(London, 1671), p. 88.
X X 1 1
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III. THE STAGE HISTORY OF CAMBYSES
At the age of eighteen, soon after he became a student
at Oxford in 1666, Settle wrote his first heroic tragedy,
Cambyses. T h e r e has been considerable confusion over the
probable dates of its composition and first production, but
it seems certain now that Cambyses was first presented on
Tuesday, January 10, 1671, by the Duke's Company at their
35
new theater in Lincoln's-lnn-Fields. In his Roscius
Anglicanus, John Downes, the "Bookkeeper and Prompter" to
the company, wrote that the play "Succeeded six Days with a
full Audience.Such a "run" of six days would have been
37
extraordinary, by Restoration standards, and "It seems
34
In the "Postscript" to Cambyses (1671), printed in
Appendix A, Settle acknowledges the assistance of a fellow
student. This student is identified as William Butler
jFyfe -- Anthony A. Wood, Athenae Oxonienses, ed. Philip
IBliss (London, 1820), IV, 684.
The London Stage, pt. 1, vol. 1, p. 179. "This per-
formance is on the tTc. lists at Harvard. . . . There is no
indication as to whether this is the premiere."
(London, 1789), p. 36.
37
The London Stage, pt. 1, vol. 1, p. clx. Three days
was considered a successful run.
xxiii
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unlikely that Cambyses was given six days consecutively at
this time" (p. 179). There seems to be no question, how
ever, that the young playwright's first work was success
ful. Montague Summers says: "From the first it was an ex
ceedingly popular play, and not undeservedly from a theat-
38
rical point of view." Downes remarks that it was "per-
39
fectly well acted," while another contemporary says that
Settle received "the applause of some, the severe censure
of others, and perhaps neither according to exact desert,
40
. . ." With the confidence that his first play had been
a "huge success" in London,Settle must have been very
proud when the Duke's Company presented Cambyses at Oxford
42
on July 12, 1671. For the occasion. Settle wrote a
special prologue.Since there is evidence that the pro
logue was spoken twice, there is reason to assume, accord
ing to Syvil Rosenfeld, that the play may have been acted
38
John Downes, Roscius Anglicanus, ed. Montage Summers
(London, 1928), p. 190.
39
Roscius Anglicanus (London, 1789), p. 36.
Phillips, p. 38.
^^Nicoll, I, 117.
*^^W. J. Lawrence, "Oxford Restoration Prologues," Times
Literary Supplement, January 16, 1930, p. 43.
^^This Prologue is printed for the first time in Appen
dix B to this edition of Cambyses.
X X IV
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at Oxford both in 1671 and in 1672,^^ Since another edi
tion of Cambyses appeared in 1675, it is possible that the
play was revived at that time. The reasons for this as
sumption are threefold : during the 1674-1675 season, the
repertories of the principal companies did not change sig
nificantly; there was a growing demand for spectacular
stage effects; and the actors who portrayed the principal
roles in the first production were still with the Duke's
Company.The fourth edition of Cambyses appeared in
1692, and, although there are no records to substantiate
such an assumption, it "may have been revived during this
season [1691-1692]" (p. 398).
44
"Some Notes on the Players in Oxford, 1661-1713,"
Review of English Studies, XIX (1943), 367.
^^The London Stage, pt. 1, vol. I, 219-220.
X X V
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IV. HEROIC TRAGEDY; A DEFINITION
After the Restoration of Charles II to the throne of
England in 1660, the English theater underwent a change.
The theaters had been closed, officially at least, from
1642 to 1660, and when they re-opened, "the repertoire was
composed entirely of plays from the pre-Commonwealth
era.The audience had changed, and instead of the ro
bust cross-section of the London citizenry in the Eliza
bethan audience, the Restoration audience was composed
primarily of courtiers and their hangers-on, all of whom
took their cues from the King. (p. 8) The tradition of
Elizabethan acting style had been lost, for the most part,
and, in addition to the substitution of women actresses for
the young boys who had taken women's parts on the stage up
to 1642, an actor like Betterton, "who was already without
a rival the most capable actor in England, had to go over
to Paris to study, not merely his Dryden, but his Shakes-
^Sicoll, I, 91.
X X V I
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_ ' - .....
peare parts.” The playhouse itself, once characterized
by a barren stage, now became a place of elegance and
spectacle, and the limitations of the semi-proscenium stage
were often taxed by the free experiments with magnificent
48
Stage settings and machines. In short, all elements of
the theater--the playhouse, the audience, the production--
were undergoing a major period of development, but the most
significant changes appeared in the plays themselves; come
dies of manners and heroic tragedies.
Today we remember Restoration comedies with more en
thusiasm than we do the tragedies, but the latter genre,
unreal as it is, clearly reflects the attitudes and desires
of its time. The heroic tragedy is a limited species, and
heroic dramatists generally adhered to these limitations.
The typical heroic tragedy is characterized by an excessive
ly heroic character who is tom between the passions of
love and honor, and by elaborate spectacle, bombastic
dialogue, foreign settings, and a happy ending brought
about by poetic justice. The characters are predictably
stereotyped, the plot and action are many-leveled and
grand, and the heroic couplets in which most of these plays
are written are clear evidence of the dramatists’ attempt
47
Restoration Plays, ed. Sir Edmund Gosse (London, 1962),
p. ix.
^^Nicoll, I, 34.
XXV ii
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to associate these plays with the heroic poetry of the
period. And yet, despite these rigid requirements, heroic
tragedy plays a unique part in the development of English
drama, for it absorbed influences from the past, reflected
the present, and influenced the future,
Charles II returned from his exile in France with a
love of the drama which he indulged by licensing two com
panies, by encouraging playwrights, and by attending the
theater regularly. His praise of French tragedy encouraged
playwrights to follow French standards. As Nicoll shows:
The heroic tragedy , , , is to be explained by declaring
it a conscious artificialising of early seventeenth
century romantic drama, with elements introduced to
please the tastes of the Restoration novelty-seeking
audience, and all modified just a trifle to make it ap
proach a little nearer to the heroic plays of France,
(p. 131)
The influences which combined to produce the heroic tragedy
were the French romances and tragedies, the tragi-comedies
of the Jacobeans, especially those of Beaumont and FIetch?
49
er, and the development of opera in England, espe
cially those of the D'Avenant school,Always a hybrid
species, heroic tragedy can, perhaps, be best understood as
an "art halfway towards opera,suggesting the fusion of
49
For an authoritative discussion of this influence,
see J, W, Tupper, "The Relation of the Heroic Play to the
Romances of Beaumont and Fletcher," PMLA, XX (1905), 584-
621,
^^Nicoll, I, 104
^^Restoration Plays, p, viii,
xxviii
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spoken drama, spectacle, patterned stage movement, and,
sometimes, music. These many influences and the inherent
limitations in the form made the heroic tragedy a short
lived, but relatively easy type of play to write. Lewis
Chase says:
The French manner, as it was interpreted, was formulated
into a code of precise rules so minute, and withal so
comprehensive, that any sign of originality on the part
of the aspirant for dramatic honors would seem super
fluous and out of place. These rules were readily conned
and applied, else there would not have been so many plays
put on the boards. That Dryden produced six in one year,
and Settle wrote 'Cambyses’ when he was eighteen, shows
the easiness of the feat. (p. 25)
Nevertheless, a play which is allegedly easy to write is
not a guaranteed, long-range success, an assertion readily
supported by the fact that today we remember very few of
these heroic dramatists, despite their prolific output.
The chief writer of heroic tragedy is, of course, John
Dryden, whose concepts of the genre helped to establish its
nature. For Dryden, "an heroic play ought to be an imita
tion, in little, of an heroic poem; and consequently, . . .
52
Love and Valour ought to be the subject of it." What
Dryden wanted, basically, was a "species of historical
53
oratorio," composed of "some thrilling supernatural in- ;
cidents, . . . the presence of some greater complications of
52
John Dryden, Es's^ys of John Dryden, ed. W. P. Ker
(Oxford, 1926), I, 150.
53
Restoration Plays, p. x.
XX ix
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plot and of emotions, and . . , the heightening of the
character of the hero."^^ The object of the heroic tragedy
was, as Dryden says in his Preface to The Maiden Queen
(1668), "'to show one great and absolute pattern of hon
our, ' and to avoid anything in language or manners which
55
should approach to indecorum." By today's standards,
these plays are hardly comprehensible, . . . unless we
understand them to represent . . . a semi-operatic con
vention which had its civilising influence on manners.
. . . But we must take the Restoration plays for what
they had to give to a double English audience, composed
of men of taste, nurtured in the principles of the French
stage, and of coarse citizens, ready to be improved in
mind and manners by representations which sacrified every
thing to pomp, decorum, and refinement, (pp. ix-x)
In Settle's A Farther Defence of Dramatick Poetry (1698),
one of his contributions to the Collier controversy over
the morality of the English stage, he writes that "...
56
Delight is the great End of Playing, ..." and his prin
cipal concern in that work is to prove that Restoration
drama is no more immoral than classical drama.The major
purposes of Restoration heroic tragedy, then, were quite
consistent with the general neo-classical ideas about
^'^Nicoll, I, 103-104.
55
Restoration Plays, p. vii.
(London, 1698), p. 33.
57
D. Crane Taylor, William Congreve (London, 1931),
pp. 125-126. ------------
XXX
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literature's functions: to delight and to instruct.
The Restoration need for heroism is founded, according
to Bonamy Dobree, on the audience's realization of the dis
crepancies between the ideals of the past and the realities
of the present. Dobree writes:
The age, then, was hungry for heroism, and feeling itself
baulked of it in real life was happy to find it in its
art. What was art for but to provide what was lacking in
everyday existence? . . . Man, dissatisfied with the pro
saic nature of things as they are, uses the imagination^
to shadow forth the poetry of things as they should be.
Dobree points out that Restoration tragedy was not for the
masses or the groundlings in the pit, but rather for the
upper classes and members of the court, "for if it was the
duty of art to profit as well as to delight, it was obvious
ly no use trying to teach virtues to such ordinary mortals
as would not be able to put them into practice" (p. 19).
A1lardyce Nicoll arrives at another conclusion, showing
that the fops and courtiers who composed the audience
enjoyed heroic tragedy because it pleased the senses and
was a "playful essay, a game to be indulged for a brief
hour or two, an easy method of whiling away the time" (I,
19). Yet, as Nicoll continues,
this Restoration audience could and did give something to
the theatre. The spectators might be thoughtless and de
praved, but they were cultured, and the grace and the wit
and the elegance which they brought into life and the
playhouse was something quite new. (p. 25)
58
Restoration Tragedy (Oxford, 1929), pp. 16-17
XXX i ^
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A more recent study by Thomas H. Fujimura tries to present
the heroic tragedy as an expression of the age, reflecting
some of the ideas, ideals, and tendencies of that age.
Fujimura disagrees with Dobree and Nicoll that the Restora
tion theater-goer, being unheroic himself, found a vicari
ous satisfaction in the plays :
Actually, Csays Fujimuraj there is little evidence for
the common assumption that the Restoration was unheroic,
and that consequently the age was hungry for heroism.
Further, no one familiar with its youthful vigor, its
vital interest in science, and its optimistic confidence
in the powers of reason and its empiricism, would regard
the period as debilitated.59
It can be seen, then, that several viewpoints exist to
explain the Restoration concern with the heroic elements
in drama. Primarily, Dryden's moral concern, seen in his
writings on the theater, was balanced by the sensual con
cern of the audience, and it must be assumed that these
heroic tragedies filled a genuine need in an age principled
with classical concepts of greatness.
One explanation for the audience reaction to the heroic
tragedy lies in the nature of the play itself. No longer
was the classic Aristotelian purgation of pity and fear
looked for, but rather the audience was expected to express
its respect for the hero's great love, valor, and sense of
^^"The Appeal of Dryden's Heroic Plays," PMLA, LXXV
(1960), 37. ,
XXX ii
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honor.And in this significant development away from the
classic Greek tragedy lies one of the major defects of
heroic tragedy. As Sir Edmund Gosse'suggests, these plays
suffer
from a tendency to produce common and inadequate poetry.
, . . They aimed at subduing emotion to a level of pom
pous grandeur, but they lacked the splendour of the
Greeks, the purity and elasticity of the French.
And yet these plays, which Gosse terms "flat, bombastic,
dull" (p. viii) must be read and understood within their
obvious limitations, for they do not pretend to be Greek
tragedies. In addition to the rhymed verse, so often
ridiculed as being unnatural, one must remember Dryden's
statement that it was "'not the business of a poet to re
present historical truth, but probability.'"^^ Easy as it
is to underscore the defects of heroic tragedy, it must be
emphasized that these plays were popular and that they ful
filled the intellectual, emotional, and theatrical needs of
men during the Restoration.
The more spectacle a play had to offer, the more popu
lar it was with the audience.Elkanah Settle's first ex
periment with this genre, the spectacular Cambyses, "model-
^^Dobree, p. 14.
^^Restoration Plays, p. viii.
^^Dobree, p. 24.
63
Nicoll, I, 37-63.
XXXiii
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led somewhat on the Dryden plan" (p. 117), was exceedingly
popular, and appeared in four editions between 1671 and
1695. Cambyses contains all the ingredients of a popular
heroic tragedy, including the hero’s conflict between love
and honor, the impossible heroics, the scenes of horror,
the supernatural elements, the stock villain, the beautiful
heroine of unimpeachable virtue, the captive prince, and
the happy ending, brought about by poetic justice. The
play reflects an impressive degree of literary craftsman
ship and awareness of audience tastes, and the achievement
is all the more impressive when one considers that Settle
wrote this play at eighteen. It is a play worthy of serious
consideration, not only for itself, but also for its rela
tionship to Settle's canon, and to the whole body of heroic
tragedy. Dobree's pioneering study, Restoration Tragedy,
includes consideration of Dryden, Lee, Otway, and Rowe,
but excludes Banks, Crowne, Tate, Howard, and Settle, among
others, for the reason that "grubbing in the mud in the
hopes of making mud look like crystal, or of finding some
isolated, and even then doubtful, gem in the slime, is much
to be deplored" (p. 12). With this aristocratic attitude,
Dobree concentrates on a few major plays. His study, nota
ble as it is, lacks completeness and depth. It is not my
intention to justify Cambyses as a "gem" or to consign it
to the "slime" of second-rate plays. Its craftsmanship and
its popularity will attest to its worth, while the follow-
XXX iv
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ing discussion will attempt to relate it to the heroic
genre.
Heroic Tragedy; Theme
The basic theme of heroic tragedies, whether in rhymed
couplets or in blank verse, is the conflict between love
and honor, "the exciting presentation of distressed nobil
ity.The hero's passion for some lady (usually a cap
tive princess or the daughter of his greatest enemy) "is
usually presented in violent conflict with what might be
styled honour, which might be friendship or loyalty, but
rarely the point of honour as in the French plays.Des
pite the generally uniform treatment of this theme, there
are exceptions: "It is noticeable, particularly in the Dry
den type of drama, that- honour hardly enters into the ac
tions of the hero, but -sways the lives of the lesser char
acters" (p. 126). In the Epilogue to the second part of
his Conquest of Granada (1671), Dryden defends the heroic
drama for its affirmation of heroic virtues: "If Love and
Honour now are higher rais'd,/ 'Tis not the poet, but the
6 6
age is prais'd." In Settle's work, notably in Cambyses,
64
Clifford Leech, "Restoration Tragedy; A Reconsidera
tion," in Restoration Drama: Modem Essays in Criticism, ed.
John Loftis (New York, 1966), p^ 152.
^^Nicoll, I, 126.
^^Dryden, I, 160.
X XXV
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"heroic tragedy attained its most heroic heroics. , . .
Some heroic tragedies, such as Thomas Otway's Venice
Preserv* d (1682), contain a comment on contemporary Resto
ration politics, but Cambyses is focussed on the timeless
ideals of love and honor.
The love which compelled a Restoration hero was strong
er than any love can realistically be, for "a sound, guar
anteed heroic love was excuse for any betrayal of friend-
68
ship or dereliction of duty." It was a love that "wrap
ped everything in its control and lost itself in ridiculous
similes and nonsensical reasoningsand yet love did not
always conquer all, and a hero's love might produce both
pity and admiration in the audience.Classical tragedy
requires a catharsis of the audience's pity and fear, but
since admiration of virtue replaces terror in Restoration
tragedy, then it follows, in Dobree's reasoning, that love
should replace pity; to be more exact, the "ingredients of
Restoration work, were . . . not terror and pity, but ter
ror- admiration with love-pity" (p. 21). The hero is almost
always less motivated by honor than he is by love, for if
r • n
Elwin, p. 120.
Dobree, p. 21.
69
Nicoll, I, 125.
^^Dobree, p. 21.
X X X V 1
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he maintains his sense of integrity, he generally wins the
woman he loves and retains his honor.
Every play in the Restoration theater began with a
prologue and dedication in which the playwright acknowledg
ed orthodox morality, religion, and dramaturgy, in addition
to expressing his own dramatic theory and, often, a defense
71
of his work. The playwright's essential problem was to
demonstrate that man is without free will in a universe
controlled by fate; at the same time, he had to encourage
pride in man's ability to stand the vicissitudes of for-
7 9
tune. In the "Epistle Dedicatory" to Cambyses, Settle
praises the "Inferior Princes" who "shined by reflection
from the Persian crown" in spite of the unpredictable in
fluences of the sun and stars. And, at the end of the play,
referring to fate and man's strength. Settle's character
Darius says, after Prexaspes' suicide:
This mighty work of fate we must admire.
Thus the gods guard those virtues they inspire.
His blood thus spilt has this kind justice done.
It saves your life, and punishes his own.
Thus bruised Scorpions this virtue have,
They yield a cure to the same wounds they gave.
(V.iii.380-385)
^\iontague Summers says: "It were superfluous to insist
upon the quality of these lively addresses. . . . Intensely
topical and intensely vital, they are indeed a mine of in
formation, not merely with regard to things theatrical but
also as indicative of popular feeling and the political cur
rents of the day." -- The Restoration Theatre (London:
Kegan Paul, Trench, Trubner & Co.^ 1934), p. 106.
^^Leech, p. 150.
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The dedication serves a more practical purpose, of course,
in flattering the patron in extravagant terms, and Settle's
dedication to Anne, Duchess of Bucclugh and Monmouth, must
have been effective, for she undoubtedly introduced him
"to others of the court, whose favor and patronage he was
„73
soon to receive."
Heroic Tragedy; Plot and Action
The plot of a typical Restoration heroic tragedy, in-
74
eluding Cambyses, is complicated, but the inevitability
of great tragedy is missing from this complication, as the
steady rise to a climax and fall to a resulting catastrophe
are replaced by a plot wrenched to fit the limitations of
heroic tragedy. For instance. Settle manipulates the
action in Cambyses so that anticipation and suspense re
place the inexorable tension produced by the development of
great tragedy. Fate and inevitability give way to uncon-
75
vineing reversals and unjustifiably happy endings.
The distinctive Restoration concept of tragedy re
flects many influences besides those of classical Greek
drama. Greek tragedy, as discussed in Aristotle's Poetics,
was codified by Rennaissance Italian critics into the
Brown, p. 10.
74
For a plot synopsis of Cambyses, see Appendix C.
75
For Example, see Cambyses (V.i.70ff.).
xxxviii
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familiar theories of the unities,which influenced French
neo-classical tragedy, in turn influencing English drama of
the Restoration. Such a lengthy and varied period of de
velopment and interpretation was bound to result in con
fusion and contradiction between the classical drama of
Aristotle’s period and the neo-classic drama of the late
seventeenth century. Dobree holds that the short-lived ap
peal of Restoration tragedy resulted because
the dramatists of that day were trying to express roman
tic ideas in a form specially evolved for the classical.
, . . And what is curious about Restoration tragedy is,
that however much it may conform to a classical order,
the passions expressed in it are nearly always the. roman
tic passions: in it the limitations of human nature, one
might also say of nature, are disregarded, and even
flouted, (pp. 26-27)
Heroic tragedy owes a debt to Beaumont and Fletcher's
use of theatrical scenes whose dazzling rhymes exist for
their own sake, to entertain, not to delineate character,
77
develop action, or distinguish conflict. Clifford Leech
maintains that sueh scenes are obvious examples of "pattern
ed stage movement, and he indicates that Dryden defended
the use of rhyme to carry out these patterns, as "'in a
dance which is well contrived'" (p. 154). Such a series of
76
A. E. Parsons, "The English Heroic Play," MLR, XXXIII
(1938), 5-6.
^^Nicoll, I, 93.
XCXIX
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scenes occurs in Cambyses (Il.ii-v), scenes of love-making
in which Cambyses pleads for Mandana’s love, Smerdis for
Phedima's, and in which Theramnes, tricked by the usurper
Smerdis, is forced into a duel with Darius. These scenes
rapidly shift place, from battle camp to palace, and are
marked by balance and symmetry.
There is a contradiction in these plays, as Leech has
pointed out, between form and content, between the elabo
rate scenic effects and extravagant language and the high
moral aim. However, Leech feels that Restoration insis
tence on form and decorum in all matters was but one means
of compensating for an "increasing awareness of personal
inadequacy, an increasing desire to live up to extravagant
ideas of conduct" (p. 157). Such feelings are evident in
the overly-complimentary, subservient dedications to pa
trons, which are a standard item in these plays. "Men
were anxious to believe that they lived among the truly
great, and the pretence was not altogether unsuccessful"
(p. 158), In the dedication of Cambyses Settle equates
his patron's mercy and forgiveness with that of the gods.
In defending this contradiction between form and content.
Leech arrives at the conclusion that
the strained, operatic manner was suited to this presenta
tion of distressed nobility, because the conception of
nobility itself was remote from more ordinary hopes and
fears and common conditions. Moreover, the heroic man
ner was valued for its own sake rather than for any end
it might achieve; it was therefore appropriate that
dramatists should be concerned with the individual scene
rather than with the total structure, (p. 158)
xl
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A notable and often-criticized characteristic of
heroic tragedy is the happy ending, but it is wholly ap-
ropriate to a play in which the audience focuses on the
hero with admiration rather than terror. Such endings are,
of course, the result of poetic, rather than natural jus
tice, Dobree says:
The justice of Greek tragedy is something which broods
greatly above men, . . . but in Restoration tragedy we
are more likely to see triumph the little justice of
little men. Virtue must be rewarded here and now. . . .
(pp. 31-32)
So, in Cambyses, Darius gains the throne and wins Phedima
and, on a secondary level, Theramnes wins Orinda’s love
and his kingdom of Syria; predictably, the villain Prexas
pes is discovered and commits suicide before he can be
punished. Virtue triumphs and vice is punished when the
behavior of the principal characters has been exemplary
during the play. Such exemplary action can be seen in
heroes such as Dryden's Almanzor (The Conquest of Granada)
I and Settle's Darius who renounce love to meet the demands
of honor and are, thus, generally rewarded with both. Con
versely, "the hero who yielded to love, like Otway's Jaf-
feir [Venice Preserv'd ] or Dryden's Montezuma [The Indian
Queen J paid for it dearly, but came to realise his mistake
■70
and was thus able to show nobility at the play's end."
y^Leech, p. 147
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Heroic Tragedy; Characterization
Theories concerning the characterization of the Resto
ration tragic hero are extensive, but they do not yield a
detailed, comprehensive concept of the hero. Contemporary
critical attention to the hero is often based on the as
sumption that there is no psychology worth discussing,
Lewis Chase calls the heroic dramatist's psychology impos
sible because "there was little or no attempt to draw men
/.
and women, but rather to present abstract human qualities"
(p. 52). Asserting that heroic characterization is "very
slight," J. W. Tupper says;
no attempt is made to build plot about character . . .
plot consists of a series of happenings more or less
theatric in nature, and without any vital connection with
each other, and with the character figuring in them . . .
the characterization of these plays amounts to nothing.
. . . (p. 602)
A1lardyce Nicoll arrives at a similar conclusion: "Their
psychology is hopelessly wrong" (I, 129). Despite the
weakness in these heroic characters, they were able to hold
the audience's attention for five acts, and they are worthy
of our attention. Chase's conclusion is that the heroic
tragedy "presented a shadow, at least, of true heroic char
acter" (p. 194). Furthermore, "the reader's impressions of
the plays^ are usually dominated by the figure of the hero,"
says B. J. Pendlebury, who attributes the "predominance of
^ 79
the hero" to the influence of epic poetry.
Dryden's Heroic Plays (London, 1923), p. 8.
xlii
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A. E. Parsons takes the view that the rigid rules, re
quiring a perfect hero for the admiration of the audience,
"preclude any kind of character development. The conflict
is purely external, or at best can only be between opposing
duties and virtues" (p. 4). To be sure, the typical hero
of a Restoration tragedy is a stereotype: a valiant soldier-
hero, of noble birth and virtuous character, whose deep
love and spotless honor survive the plots of the villain and
the slings of fortune. He is almost always superficial, in
the sense that the audience sees only the outward manifes
tations of his character, not the inner subtleties of his
mind.
Perhaps the most notable elements in the characteriza
tion of a Restoration tragic hero are the unreal emotions:
exaggerated hate, insatiable love, unbelievable valor, un
flinching loyalty, and unswerving principles. Nicoll says:
These exaggerated emotions . . . led to a falsification
of all psychology. Not one of the heroes, heroines .or
villains of the exalted tragedy acts rightly. . . .
Whether it is love or war or death their actions and their
words are the actions and words of unreality. (I, 129)
These unreal emotions are evident in the action, but it is
in the language, in the bombast and the ranting, that the
hollowness of these characters is best seen. For example,
Cambyses brags of himself:
I of my frowns a nobler use should make.
To awe the trembling world, make empires quake.
And check heaven's thunder. 'Tis not fit my brow.
The terror of the world, should threaten you.
(III.iii.96-99)
xliii
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And, yet, as Nicoll shows, "The unnatural sentiments and
the ranting rhetoric poured forth by them found a counter
part in their marvellous oaths" (I, 129), such as Prexas
pes' hypocritical reaction to Cambyses' death: "Oh, horror1
Envious heaven'." (IV. i. 250). Ranting and self-esteem are
not limited to the heroes, for the villains, too, have
exalted notions about themselves. Even in defeat, Prexas
pes can say:
I'm fallen into a prison from a throne.
And, what's the worst of miseries, I still
Keep the desire, though not the power to kill.
I should not with my ruin to recall.
Had I but sünk an empire in my fall:
And made all Persia in my ruin share:
It should such horror from my name contract.
Trembling to hear what I made sport to act.
But now must calmly die. Had I but first
Like earthquakes through the trembling world dispersed.
Shook nature's frames, and all mankind overthrown,
I then could die--not to survive alone. (V.i.178-190)
Cambyses is representative of many aspects of Restora
tion tragic characterization; stock characters, multiplica
tion of love-complications, villainy defeated, and the sets
of reputable lovers who are left to live. The hero of
; Cambyses is Darius, not Cambyses whose actions are mainly
evil. For example, Cambyses kills his younger brother,
: conquers countries and kills enemies with ferocious enjoy
ment, and thwarts the love of Osiris and Mandana. One
feels neither sympathy nor compassion for him. On the
other hand, Darius, true to the codes of love and honor,
xliv
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continually favors the good and just action, and is reward
ed with the hand of Phedima and the kingdom of Persia, to
which he is the rightful heir. Both Cambyses and Darius
behave in predictable fashion, as do the other characters in
the play, with the possible exception of the villain Prexas
pes, whose motivations and speeches, while stereotyped,
are genuinely convincing. Prexaspes, like lago, succeeds
in convincing the audience of his villainy and his dedica
tion to evil.
From this conflict between honorable and evil charac
ters comes the subject matter of the play. The real concern
in Cambyses is not with Cambyses' conquests, but rather
with the succession to the Persian throne and the intrigues,
both evil and honorable, surrounding this succession. Cam
byses' conquests and subsequent return to Persia are merely
the exciting force for the real conflict between Theramnes,
Prexaspes, and Darius for the throne; Cambyses' protests
against the usurper Smerdis are unconvincing and lifeless,
and his defeat seems assured because of his proud, self-
confident ranting about his power.
Heroic Tragedy: Language
Perhaps the most widely discussed and criticized as
pect of heroic tragedy is the rhymed couplet; yet, as Dry
den says, heroic figures and exalted actions necessarily
xlv
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require a language which is more formal than the rhythm and
sound of ordinary prose conversation, and thus rhyme is
80
justified as the vehicle for expressing heroic passions.
In "Defence of an Essay of Dramatic Poesy," Dryden defends
the use of rhyme;
I am satisfied if it cause delight; for delight is the
chief, if not the only, end of poesy; instruction can be
admitted but in the second place, for poesy only instructs
as it delights, (p. 113)
The language of tragedy must necessarily be lofty to
avoid any connection with everyday language, and even rant
ing and bombast can be excused insofar as they demonstrate
the distinctions between heroic and common life. But, as
Leech suggests, this straining for the extraordinary effect
"may be ludicrous not merely in ra[n]ting but in pathetic
passages" (p. 159). However, in a passage of genuine pathos
in Cambyses, Settle seems to overcome this obstacle. As
Mandana is hprrified by a tableau in which her lover Osiris
appears beheaded, with his head in a container of blood,
she speaks tenderly, recalling Shakespeare’s Juliet;
Osiris murdered'. And can heaven be
An idle gazer on his destiny?
Gods, can you suffer this; and yet lay claim
To this lower world? Or, is your thunder tame.
To let the tyrant live? Are not you afraid,
Who here below all virtue has betrayed,
When there’s none left on earth he may pursue.
The next blow he intends will be at you?
Oh, no, this stroke by your consent was given.
To rob the world, to add new stars to heaven.
(III.iii.126-135)
80
Essays of John Dryden, I, 148.
xlvi
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However, it is not the quality of the rhyme which so
concerns the critics, but rather the underlying reason for
it. Allardyce Nicoll makes an illuminating point about
rhyme in tragedy;
Rime in tragedy was but a passing external fashion in
dramatic technique, which synchronised very largely with
the main heroic period, but which had an influence slight
when compared with the influence of the other character
istics of the heroic plays. Heroic verse in drama is
really of very little account, historically or other
wise; the heroic play, although in its pure form ephemer
al, is one of the most interesting and influential pro
ductions of our theatre. (I, 101)
This defense notwithstanding, the rhyme is foreign to the
modem ear, as George Saintsbury shows ;
. . . the rhyme does more harm than it need necessarily
do, by encouraging, on the one hand, the singlestick
bouts of stichomythia . . . and on the other the tirade.
The formeF]^ besides its inevitable suggestion of the
ludicrous, has, in English at least, the further disad
vantage of drawing special attention to the anomaly of
the rhyme itself. The latter . . . treacherously invites
the substitution of rhetoric for . . . poetry, and spurs
the writer on to exaggerated hyperbole, bombast, and
rant.
There is mucti validity in this criticism, but the use of
rhyme in heroic tragedy must not be judged by contemporary
standards, and it must not overshadow the other aspects of
the genre. Rhymed couplets give these plays their unique
form, and they must be judged within this form, not as a
separate element out of context.
Considering his youth at the time Cambyses was written,
81
John Dryden, John Dryden; Three Plays, ed. Ceoxge
Saintsbury (New York, [n.d.] ), p. xv.
xlvii
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Settle shows a genuine competency in writing the heroic
couplet. With few exceptions, he uses the standard rhymed
iambic pentameter couplet and end-stopped lines. His
sentences, marked by balance, symmetry, and anti-thesis,
are not impaired by his frequent use of enjambment which
softens the cadence of the couplet without sacrificing
sense to sound. Settle has a pleasant sense of parallel
ism; "Death is but half the rigor of your fate,/ Living
you merit, dying, force my hate ..." (III.iii.317-318).
When one considers the inherent limitations of the form in
which Settle was writing, and the limitations of the heroic
couplet itself, Cambyses presents no problems to the modem
reader, for the lines are fluid and the images and figures
are lively.
Heroic Tragedy: Staging
The elaborate staging of the first production of
Cambyses contributed greatly to its success and demon
strated Settle's life-long ability to please the audience
82
with spectacular theatrical effects. Such staging
reflects continental influences and provides a distinct
to the comparatively bare staging of early seventeenth
theater; moreover, such staging reflects Dryden's thinking:
82
If the rest of Settle's career can be taken as reli
able evidence, it can be assumed that he was wholly respon
sible for the theatrical effects and staging of Cambyses.
xlviii
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. . . if any man object the improbabilities of a spirit
appearing, or of a palace raised by magic; I boldly an
swer him, that an heroic poet is not tied to a bare re
presentation of what is true, or exceeding probable; but
that he may let himself loose to visionary objects, and
to the representation of such things as depending not on
sense, and therefore not to be comprehended by knowledge,
may give him a freer scope for imagination. * Tis enough
that, in all ages and religions, the greatest part of
mankind have believed the power of magic, and that there
are spirits or spectres which have a p p e ar e d.83
According to neo-classical ideals, spectacle is, therefore,
"natural,” but according to W. P. Ker,
"Nature" means whatever the author thinks right; some
times it is the reality that is copied by the artist;
sometimes, and much more commonly, it is the principles
of sound reason in poetry; and sometimes it is the Ideal.
Thus Dryden refers to Nature to justify heroic couplets
in serious drama; "heroic poetry is nearest nature, as
being the noblest kind of modem verse." (pp. xxiv-xxv)
The complicated scenery had an effect on the literary
form of the drama. Since the visual element astounded the
imagination, the heroics and the resultant ranting had to
rise to an equal level. G. Wilson Knight says about Set
tle;
The interest in his Cambyses, Kin^ of Persia (1671) lies
less in its intrigues and villainines than in some elabor
ately devised shows, including a counsel of spirits.
Act IV of Cambyses opens with the following stage direc
tions :
O O
Essays of John Dryden, I, 153.
84
The Golden Labyrinth; A Study of British Drama
(London^ i9bZ), p. 154.
xlix
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The scene drawn, Cambyses is discovered seated in a chair
sleeping; the scene representing a steep rock, from the
top of which descends a large cloud, which opening, ap
pear various shapes of spirits seated in a form of coun
cil, to whom a more glorious spirit descends halfway,
seated on a throne; at which, the former spirits rise
and dance; in the midst of the dance arises a woman with
a dagger in her hand, at which the scene shuts. (IV.i)
To quote Dobree,
With a background of that sort, what could the author do
but invest his characters with the most extravagant sen
timents, make them rant and fume in the most bombastic
manner? (p. 24)
But spectacular scenes alone were not enough to satis
fy the audience, and in addition to exaggerated heroes, ex
aggerated villains, and exaggerated theatrical effects.
Settle created great scenes of horror, murder, torture, and
blood. Although Empress of Morocco has more scenes of
genuine horror, Cambyses has its chilling moments, as in
dicated, for example, by this stage direction: "The scene
opens, and on a table appears the body of Osiris, beheaded,
and an executioner with the supposed head in a vessel of
blood" (III.iv.121). Such scenes of blood and horror, ac
cording to Nicoll, indicate the influence of Webster and
Ford on Restoration heroic tragedy (I, 130).
In addition to its colorful and exciting stage action,
the Ekiglish heroic drama reflects great variety in its his
torical and geographical scenes of action; however, there
is little consistency in the countries portrayed, although
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... oc
Eastern or Oriental settings are frequent. Cambyses,
of course, is set in Persia. As Dobree feels that the
heroic drama replaced a lack of heroism in Restoration En
gland, so Nicoll feels that these strange, foreign settings
take the Restoration audience
away from the drabness of contemporary conditions . . .
indicating a desire to escape from conventional surround
ings to a world of unrestrained bustle and turmoil and
impossible romance. (I, 131)
The average Restoration playwright conformed to Eliza
bethan standards for use of the curtain, although some,
especially Settle, "had at least a faint idea of what could
be done with the curtain" (p. 55). Montague Summers pre
sents evidence to indicate that Settle made several contri
butions to the manner in which the curtain was used before
and during a Restoration play. For example, the Prologue
to Cambyses was delivered before the curtain was drawn,
"the speaker entering on to the apron through one of the
proscenium doors.Noting another "first," Summers
shows that Cambyses is one of the "excessively rare"
Restoration plays in which the curtain was raised and lower
ed between the acts. In the majority of plays.
The end of an act was shown by a clear stage; one of the
characters came down to the front and spoke a rhyming
tag, generally a couple of lines, but sometimes four
verses, and sometimes even more. All the characters then
went off the stage, a conclusion which may seem stiff and
Sprague, pp. 151-154.
^^Restoration Theatre (London, 1934), p. 118.
li
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unnatural, but which . . . is actually remote from any
thing inelegant or ineffective, (p. 153)
However, there are specific reasons for using the curtain
between the acts in those few plays which exhibit this
technique. Usually,
the curtain was let fall and afterwards drawn up to re
veal an elaborate and magnificent tableau requiring the
presence of a large number of characters, a piece of
special staging which could not have been effected in any
other way."'
For example, the spectacular "council of spirits" in
Cambyses (IV.i) could not have been arranged, with the nec
essary machines, unless the curtain were dropped at the
88
conclusion of the preceding act. Summers concludes :
We have then the reason for the exceptional falling of
the curtain during the progress of a play; there was to
be presented some tableau or masque which demanded this
uncommon and unusual expedient, (p. 126)
Among the notable actors and actresses who performed
in the first production of Cambyses, none is more famous
than the great Thomas Betterton, who took the role of
Cambyses. This, in itself, is an astonishing compliment to
Settle's first play, although Nicoll assumes that many
dramatists wrote roles for heroic generals with "more than
half an eye to the distinguished figure[ Betterton] who was
to interpet them" (I, 66). In addition, two other distin-
87
Summers, p. 159.
88
Although the curtain falls at the end of Act III, the
stage directions at the beginning of Act IV say "The scene
drawn," not "a curtain rising."
lii
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guished actors appeared in the first production. Ayery
Henry Harris played Prexaspes. Harris must have been step
ping out of his usual type of role, which, according to
Nicoll, was "those parts which demanded pathos and amorous
passion more than heroism or witty dalliance" (p. 67).
William Smith played Darius, and one of the first women ever
to appear upon the English stage, Mrs. Betterton, played
Mandana.
Heroic Tragedy; Concluding Evaluation
In the foregoing discussion I have indicated that the
heroic tragedy--an exciting, spectacular, and popular
dramatic form--laid no claim to realism. The need for
heroics, ttie desire for escape, and elaborate settings and
supernatural events all satisfied various elements within
the Restoration audience. And yet, for a play to survive
its immediate period, and to continue to be popular with
the audience, it must be more than a historical relic for
the scholar's scrutiny. Certainly, there is no reason to
claim that Cambyses is a great play; it is, however, a
representative, successful example of heroic tragedy.
Heroic tragedy does not present either a clear re
presentational or non-representational view of life. As a
genre, it approaches realism, but it also contains certain
liLi
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non-realistic elements. This combination of the realistic
and non-realistic creates a special problem for the modem
reader and critic, since the standards of evaluation are
not wholly consistent with either mode of representation.
Thus, one must evaluate a heroic tragedy according to the
formula of the genre itself. One should ask whether the
play gives a representation of life which approaches com
pleteness and fidelity to the genre and whether it has some
significance. Settle's representation of life in Cambyses
is clear, colorful, and distinctive. The life he relates
is full of heroics, sound and fury, but the significance
of this behavior is limited. The plot, characters, theme,
and language are cast in a carefully-defined mold, and the
result is calculated, appealing today to the intellect
rather than to the emotions. Yet, though Cambyses is writ
ten according to a formula, it would be incorrect to say
that it contains no real feeling, for there are scenes of
genuine pathos and characters for whom sympathy, if not
on
pity and fear, are felt.^ Elkanah Settle seems to have
been able to express a limited number of feelings with
great force, and yet these feelings are almost always iso
lated. To be sure, this is a defect of heroic tragedy, in
general, but where Dryden's command of verse allowed him to
89 ,
For example, see Cambyses (III.iii or V.iii).
liv
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speak with wide range, tone, and color, Settle speaks in
one key, not necessarily rant or bombast, but the single
pitch achieved by a dramatist who, despite his theatrical
inventiveness, had a limited vision of life, a vision
which ultimately reduced everything to a level of impos
sible heroism.
Iv
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B I BL I O G R A P H Y
Ivi:
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BIBLIOGRAPHY
The Briton (London), No. 29, 1724, p. 126.
Brown, Frank C. Elkanah Settle; His Life and Works.
Chicago, Illinois: University of Chicago Press, 1910.
Chase, Lewis Nathaniel. The English Heroic Play. New
York: Columbia University Press, 1903.
Davenport, Cyril. "Elkanah Settle, City Poet," The Con-
noisseur, VI (1903), No. 23, 160-163, No. 24, 210-
211.
Dennis, John. Remarks Upon Mr. Pope* s Translation of
Homer. London, 1717.
Dibdin, Charles. A Complete History of the English Stage.
5 vols. London, 1785.
Dobree, Bonamy. Restoration Tragedy, 1660-1720. Oxford:
The Clarendon Press, 1929.
Downes, John. Roscius Anglicanu-s. - London, 1789.
_. Roscius Anglicanus, ed. Montague Summers.
London: The Fortune Press, 1928.
Dryden, John. Essays of John Dryden, ed. W. P. Ker. 2 |
vols. Oxford: The Clarendon Èress, 1926.
John Dryden: Three Plays, ed. George Saints-
bury. New York: Hill and Wang, [n.d.] .
____________ . The Poetical Works of John Dryden, ed.
George R. Noyes. Boston, Mass.: Houghton Mifflin,
1950.
Dunton, John. The Life and Errors of John Dunton. London,
1705.
Elwin, Malcolm. The Playgoer's Handbook to Restoration
Drama,. London : J. Cape, 1928.
Fairholt, Frederick William. Lord Mayors' Pageants.
London, 1843-1844.
Ivii
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Fujimura, Thomas H. "The Appeal of Dryden's Heroic Plays,"
PMLA, LXXV (March 1960), 37-45.
Gosse, Sir Edmund, ed. Restoration Flays. London: J. M.
Dent & Sons, Ltd., 1962.
Ham, Roswell G. "Dryden vs. Settle," Modem Philology,
XXV (1928), 409-416.
Heraclitus Ridens: At a Dialogue between Jest and Earnest,
concerning the Times (London), No. 50, January 10,
1681.
Knight, G. Wilson. The Golden Labyrinth: A Study of
British Drama. London: Phoenix House, 1962.
Lawrence, W. J. "Oxford Restoration Prologues," Times
Literary Supplement, January 16, 1930, p. 43.
Leech, Clifford. "Restoration Tragedy: A Reconsideration,"
In Restoration Drama; Modem Essays in Criticism, ed.
John Loftis. New York: Oxford University Press, 1966.
Moore, Robert Etheridge. Henry Purcell and the Restoration
Theatre. London : William Heinemann, Ltd., l96l.
Nicoll, Allardyce. A History of English Drama; 1660-1900.
6 vols. Cambridge; Cambridge University Press, 1965.
Otway, Thomas. The Works of Thomas Otway, ed. J. G. Ghosh.
2 vols. Oxford: The Clarendon Press, 1932.
Parsons, A. E. "The English Heroic Play," MLR, XXXIII
(1938), 1-14.
Pendlebury, B. J. Dryden's Heroic Plays. London: Selwyn
& Blount, 1923.
Phillips, Edward. Theatrum Poetarum. London, 1675.
Rogers, Robert William. A History of Ancient Persia.
New York: Charles Scribner's Sons, 1929.
Rosenfeld, Sybil. "Some Notes on the Players in Oxford,
1661-1713," Review of English Studies, XIX (1943),
366-375.
[ Settle, Elkanah.J A Farther Defence of Dramatick Poetry.
London, 1698.
I v i i i
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Sprague, Arthur Colby. Beaumont and Fletcher on the Res
toration Stage. Cambridge, Mass.: Harvard University
Press, 1926.
Summers, Montague. The Restoration Theatre. London:
Keg an Paul, Tr ench7 Trut>ner & Co. , 1934.
Taylor, D. Crane. William Congreve.
University Press, 1931.
London: Oxford
Van Lennep, William, ed. The London Stage: 1660-1880.
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Whincop, Thomas. "A List of the English Dramatic Poets,"
in Scanderbeg. London, 1747.
lix
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C A M B Y S E S
KING OF P E R S I A
by
Elkanah Settle
E d ited by
R ichard Me ran B ars am
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TO THE
Most Excellent, and most Illustrious
PRINCESS,
ANNE, Dutchess
OF
MONMOUTH & BUCCLUGH:
Wife to the most Illustrious, and High-born
Prince, JAMES, Duke of
MONMOUTH.
May it please your Grace,
Since the great characters and subjects of serious plays
are representations of the world, the arrogance of an Epis
tle Dedicatory may pretend to some justice, in offering the
heroic stories of past ages to their hands, who are the or
naments of the present. Once Persia was the mistress of
the earth, the royal seat of the monarchs of the universe.
Then, as that god, the sun, which they adored, lends his
kind rays to all lesser lights, so all the tributary glo
ries of inferior princes shined by reflection from the
Persian crown. But now that sovereignty must cease, and
'the Eastern monarch Cambyses can pretend to no greatness of
I
his own, in seeking patronage from your favorable goodness.
The same Cambyses whom history has represented to be a
blasphemer of the gods, a profaner of religion, and defacer
of temples, is by your power become a convert, and humbly
Dedication missing in Q4.
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3
pays his devotion to that divinity to whose protection he
commits himself and fortune. But while I thus boldly pro
ceed to dedicate this trifle to your grace, I forget to ask
pardon for the meanness of the offering, and the confidence
of him that offers it; a crime unpardonable, were not your
mercy as signal as your other virtues. For when kind heav
en honors the world with some worthy and illustrious per
son, in which rank your grace must claim an eminent place;
who, besides your late affinity, are allied to that royal
race, to which England owes its three last monarchs; heav
en, I say, besides the great souls, high spirits, and noble
thoughts it lends such persons, endues them too with more
familiar virtues, as courtesy, generosity, and a condescen
sion to entertain the addresses of inferior mankind, and to
smile on the endeavors of the meanest of their subjects and
admirers. Else they would be forced, like planets, to move
in a sphere alone; and greatest monarchs, should they admit
of none below them, would make their palaces but solitary
prisons. The assurance therefore of these virtues, which
particularly possess so large a seat in your heroic breast,
animate me to present this poem to your hands, that it may
take sanctuary there, where in its infancy it received pro
tection, As he that's b o m under some happy planet owes
the success of his whole life to the predominance of that
kinder star that rules at his nativity. The entertainment
you gave it in loose sheets, when it first saw light.
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4
encourages me to this presumption, now in its riper growth,
to devote it wholly to yourself, and under that title to
style it happy. Since thus guarded, I dare expose it to
the world, and stand in less awe of censures, when your in
fluence, protects it, for, as that timorous pilot, in a
storm, was condemned for fearing shipwreck when his vessel
carried Caesar, this poem can fear no dangers when it car
ries your name for its defense. But besides the fortunate
and glorious advantages this piece may justly challenge
from the favor of so indulgent a patroness, it entitles me
to this happiness, the opportunity this dedication gives me
of writing myself.
Madam,
Your Grace's most Humble, and
most Obedient Servant,
ELKANAH SETTLE.
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T H E A C T O R S ' N A M E S
CAMBYSES, th e t r u e K in g o f P e r s ia .
PREXASPES, h is f a v o r i t e ,
OTANES, f a t h e r to Phedim a & O r in d a ,
h e i r to th e P e r s ia n c ro w n .
DARIUS, c o n tr a c te d to P h ed im a.
P e r s ia n P r in c e s ,
G e n e ra ls o f
Cambys e s ' a rm y .
ARTABAN, a P e r s ia n lo r d o f Cam byses' t r a i n .
O S IR IS , a young c a p t iv e P r in c e , c o n tr a c te d to M andana.
SMERDIS, an im p o s to r , u s u rp e r o f th e P e r s ia n cro w n ,
r e ig n in g i n th e name o f S m e rd is , y o u n g e r
b r o t h e r to Cam byses, p r i v a t e l y m u rd e red by
P re x a s p e s , known o n ly to P re x a s p e s and P a t a s it h e s .
PATASITHES, h is f r i e n d ; D ep u ty o f P e r s ia , d u r in g Mr
Cam byses' p ro g re s s in t o E g y p t.
THERAMNES, a d is g u is e d S y r ia n p r in c e , now G e n e ra l o f
S m e rd is ' a rm y , p r i v a t e l y i n lo v e w it h O r in d a .
M r. B e t t e r t o n .
M r . H a r r i s .
M r. C ro s b y .
M r . S m ith .
M r . N o r r is ,
M r s . L o n g ,
M r . M edbourn e ,
S a n d f o r d
M r. Young.
PHEDIMA, i n lo v e w it h D a r iu s .
ORINDA, h e r s i s t e r .
MANDANA, a c a p t iv e p r in c e s s , h e ir e s s to th e E g y p tia n
crow n ; d a u g h te r to Amasi s , s l a i n b y P re x a s p e s ,
a t C am byses' command.
M r s . J e n n ih g g s
M rs . D ix o n .
M rs . B e t t e r t o n .
AURETTA and ATOSSA, w a it in g la d ie s to Phedim a & O r in d a .
TWO HIGH P R IES TS , P e r s ia n m a g ic ia n s .
CAPTAIN OF THE GUARD, to S m e rd is .
V IL L A IN S , GHOSTS, S P IR IT S , MASQUERS, MESSENGERS, EXECUTIONERS, GUARDS,
and ATTENDANTS.
Q3 does n o t l i s t th e a c t o r s ' nam es, o n ly th e names o f th e c h a r a c te r s .
T h is l i s t a p p e a rs o n ly i n Q l, Q 2, and Q 4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
PROLOGUE
W ith no s m a ll p a in s o u r a u th o r has t h is day
B ro u g h t on th e s ta g e a damned d u l l s e rio u s p la y .
B u t w h at th e d e v i l i s he l i k e to g a in ?
I f w i t s , l i k e s t a t e s , w it h a j o i n t pow er m ig h t r e ig n ;
A p o e t 'è la b o r th e n w ere w o rth th e w h ile .
C ould he p le a d custom , and demand y o u r s m ile .
B u t t h a t was n e v e r in f a s h io n . P o e ts o u g h t
To w r it e w it h th e same s p i r i t C a e sa r s o u g h t;
I n d i f f e r e n t w r it e r s a r e condemned, f o r now
T h e re grow no la u r e ls f o r a common b ro w ;
None b u t g r e a t B en, S h a k e s p e a re , o r whom t h i s age
Has made t h e i r h e i r s , succeed now on th e s ta g e .
As e a g le s t r y t h e i r young a g a in s t th e su n .
The s e lf-s a m e h a z a rd a l l young w r it e r s r u n .
They a r e a cc o u n te d a f a ls e b a s ta r d ra c e
T h a t a r e n o t a b le to lo o k w i t i n th e fa c e ;
And t h e r e f o r e m ust e x p e c t an e q u a l f a t e .
To be disow ned as I l l e g i t i m a t e .
Thus c o n s c io u s o f t h e i r w eaknesses and w a n ts .
They know t h e i r doom; as d e s e r ts to young p la n t s .
You no more m ercy to young w r it e r s show;
You damn and b l a s t them e re th e y 'v e tim e to g ro w .
Thus yo u h ave le a r n e d th e T u r k is h c r u e l t y .
When e ld e r b r o th e r s r e ig n , th e y o u n g er d i e .
B u t as th o s e T u rk s , when t h e y 'r e f o r d e a th d e s ig n e d .
T h is f a v o r fro m t h e i r c r u e l b r o th e r s f i n d .
S tr a n g le d by m u te s , who f i t t e d f o r th e f a c t .
W ant to n g u es to speak th e c r u e lt y th e y a c t .
Know ing th e d a n g e rs o f a p u b lic shame.
O ur rh ym er hopes h is f a t e may be th e same.
He hum bly b e g s , i f you m ust c r u e l b e .
Y o u 'd make no n o is e when you h is doom d e c r e e .
B u t i f you damn h im , damn h im s i l e n t l y .
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F o r S p e c ia l P ro lo g u e to th e 1672 O x fo rd P ro d u c tio n , see A p p e n d ix B,
6
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CAMBYSES
KING OF PERSIA
A c t O ne. Scene One,
A P a v ilio n R o y a l
Cam byses, s e a te d on a th r o n e , a tte n d e d by
O ta n e s , D a r iu s , A r ta b a n , P re x a s p e s , G u a rd s, S la v e s , and
A tte n d a n ts , w it h th e P rin c e s s M andana, and L a d ie s .
CAMBYSES.
The tr e m b lin g w o rld has shook a t my a la rm s ;
A s ia and A f r i c a have f e l t my arm s.
My g lo r io u s co n q u ests to o d id f a r t h e r f l y ;
I ta u g h t th e E g y p tia n god m o r t a l it y :
By me g r e a t A p is f e l l ; and now you see
They a r e c o m p e lle d to change t h e i r gods f o r me.
I h ave done d e e d s , w here h e a v e n 's h ig h pow er was f o i l e d .
P ie r c in g th o s e ro c k s w here th u n d e r has b een t o i l e d .
Now, l i k e o u r sun, when th e r e re m a in s no m ore.
T h it h e r r e t u r n whence we s e t o u t b e f o r e .
OTANES.
R e tu m ip g th u s , g r e a t s i r , you have o u t-d o n e
A l l o th e r g l o r i e s , w h ich y o u r arms have won.
I n f e r i o r c o n q u e ro rs t h e i r triu m p h s g e t
When th e y a d v a n c e , b u t y o u , when you r e t r e a t .
DARIUS.
A l l w o r th ie s , now, m ust y i e l d to you a lo n e .
And d is a p p e a r , as s ta r s b e fo r e th e su n .
Thus C y ru s , who a l l A s ia d id d e f e a t .
Because so n e a r y o u , does n o t seem so g r e a t .
PREXASPES.
Cam byses, no: Y o u r h o n o r th e r e m ust y i e l d :
Y o u r f a t h e r C y ru s ' fam e has y o u rs e x c e lle d .
S in c e i n one a c t he d id a l l y o u rs o u t- d o .
I n le a v in g such a g lo r io u s son as y o u .
CAMBYSES.
Though th e u tm o s t bounds o f e a r t h 's la r g e fr a m e 's my r i g h t .
W here e re th e t r i b u t a r y sun p la y s l i g h t ;
Though th e w hole w o rld has my g r e a t triu m p h b e e n .
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8 I
Y e t s t i l l I have a c o n q u e s t l e f t to w in ; i
i M a n d a n a's h e a r t - - M andana, cease to m ourn; i
j Y o u r t e a r s do th o s e f a i r eyes b u t i l l a d o rn . |
I I
I M A N D A N A . j
! These e y e s , th u s decked i n t e a r s , become h e r f a t e j
T h a t w ears them . 30 j
1 CAMBYSES. I
! N o. You m ust y o u r g r i e f s a b a t e . !
I T e a rs h a v e , l i k e t i d e s , t h e i r ebbs ; and e ac h k in d f lo w e r .
A f t e r a s u lle n c lo u d , and sto rm y sh o w er; i
I Looks f r e s h , and s m ile s a t th e n e x t s u n . |
i I
;MANDANA. j
i T h a t sun 35 |
I W i l l n e v e r see my f a t h e r i n h is th r o n e ; |
; T h a t sun t h a t saw you triu m p h i n h is b lo o d , j
T h a t saw you (who on E g y p t’ s r u in s s to o d ) I
D e fa c e o u r te m p le s , and t h e i r pow ers d e f y .
T h a t l e n t me c h a in s , and gave you v i c t o r y . 40 \
' As i f yo u to such w an t o f fo e s w ere d r iv e n , \
' When th e e a r t h y o u 'd c o n q u e re d , to wage w ar w it h h e a v e n . |
I I
; C A M B Y S E S . \
I T h e ir pow ers t h a t made my g re a tn e s s so s u b lim e , i
Have made my g lo r y and success my c r im e . |
i F o r g iv e me t h a t , my c o n q u e s t was my f a u l t , 45 !
And w h at th e i m p a r t ia l chance o f w ar has w ro u g h t.
F o r g e t h is d e a th , and I ' l l y o u r f a t e r e t r i e v e , |
Y o u r k in g and f a t h e r b o th in me s h a l l l i v e . j
■ ' i
iMANDANA. i
I You v a in ly y o u r u n tim e ly fa v o r s p la c e ; |
I Thus tre a c h e ro u s s e rp e n ts wound th o s e th e y e m b ra c e . 50 |
i A sudden tr e m b lin g s h o o ts th ro u g h a l l my v e in s , j
! And in my b r e a s t h is m u rd e red im age r e ig n s . i
Such h o r r o r does my h a u n te d s o u l a f f r i g h t , |
i T h a t I m ust f l y h is c r u e l m u r d e r e r 's f l i g h t . !
I Y o u , b y i n s t i n c t , who d id h is d e a th d e s ig n , 55 |
A s s a u ltin g o f h is b lo o d , l a i d s ie g e to m in e . E x i t M andana and
L a d ie s .
C A M B Y S E S .
You s u b tle p o w e rs , t h a t human p a s s io n s r u l e ,
T h a t ta k e y o u r p r i v a t e w a lk s w i t h i n my s o u l;
Whence i s y o u r t i t l e , t h a t t h i s pow er you have?
j Thus to d e g ra d e a m onarch to a s la v e ? 60
And y e t such charm s fro m th o s e b r i g h t c i r c l e s f lo w ,
! T h a t I m ust th a n k h e r eyes t h a t made me s o .
13 8 . T h a t saw3 Q l, Q4; And saw , Q 2, Q 3.__________ ______________________________
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
T ru m p ets h e a rd
fro m w i t h i n .
65
E x i t D a r iu s .
S houts heagd
fro m w i t h i n .
E x i t O ta n e s .
75
PREXASPES.
A sudden sound o f tru m p e ts s t r i k e s my e a r .
ARTABAN.
I t seems th e v o ic e o f some new triu m p h n e a r .
CAMBYSES.
Some h e r a ld , o r a m b as s ad o r, o r some
P o o r p e t t y p r in c e , t h a t does a s u p p lia n t come
To beg h is c ro w n . D a r iu s , s t r a i g h t in q u ir e
From w hence th e y come; and w h a t i t i s th e y d e s ir e .
G iv e them such e n te r ta in m e n t as may show
Cambyses i s t h e i r k in g and c o n q u e ro r t o o .
W hat s h o u ts a r e th e s e ? H a l L o u d e r y e t i Go f o r t h .
And t e l l them t h a t I w i l l a l l a y t h e i r m i r t h .
I s i t my good n a tu r e makes th e s la v e s g ro w p ro u d .
To d a re to be th u s in s o le n t and lo u d ?
Loud and u n g o v e m e d m ir t h r a s h a c t s p e r fo r m s .
Kind gales, grown turbulent, and high, are storms.
E n te r D a r iu s , i n h a s t e .
D A R IU S.
A c lo u d o f p e o p le does y o u r camp s u rro u n d ;
And t h e i r tr iu m p h a n t c r ie s echo t h i s so und.
Long l i v e K in g S m e rd is .
CAMBYSES.
H a l W h a t's t h i s I h e a r?
PREXASPES.
W hat may p ro v o k e y o u r sw o rd , b u t n o t y o u r f e a r .
E n t e r O ta n e s , i n h a s t e .
OTANES.
The t u m u lt 's lo u d . T h e ir g u i l t y jo y s do show,
T hey p a y to S m erd is w h a t to you th e y ow e.
CAMBYSES.
Does S m erd is th e n u s u rp my th ro n e ? My lo r d s .
We s h a l l n o t w a n t new s u b je c ts f o r o u r s w o rd s .
Though th e ra s h b o y 's a m b itio n does n o t know
W hat d an g e ro u s h e ig h t h is p r id e h as r a is e d h im t o .
Y e t I w i l l make h im know fro m w hence h e f a l l s ;
A dvance my s ta n d a rd th e n to S u s a 's w a l l s .
And th e n e x t m o rn in g o u r b r i g h t sun s h a l l r i s e , 90
A d o rn ed w it h b lo o d , and human s a c r i f i c e . E x e u n t a l l , e x c e p t
Does a n e r d is l i v e s t i l l , a re p r o a c h to b e ,jp a m b y s e s and P re x a s p e s ,
B o th to my p o w e r, and y o u r f i d e l i t y ?
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10
S u b je c ts th e b r e a th o f m onarchs s h o u ld a tte n d .
O beying t h a t on w h ich t h e i r l i v e s d ep en d .
The w i l l o f p r in c e s , who th e n d a re s d is p u te .
Whose p r e c e p ts , as t h e i r cro w n s, a re a b s o lu te ?
PREXASPES.
I f S m erd is , s i r , does any s c e p te r sway,
N eptune has l e n t him t h a t w h ich r u le s th e sea;
F o r th e r e he l i e s s e c u re ; t h e r e , w h ereeeah h w ave.
May p ro u d ly pass triu m p h a n t o v e r h is g r a v e .
CAMBYSES.
How, th e n , s i r , a re th e dead so p o w e rfu l grow n.
To make a r e s u r r e c t io n to my th ro n e ?
PREXASPES.
You know I'm l o y a l , and may t r u s t h e 's d e a d .
CAMBYSES.
You : l i e , s la v e ; one w ord more f o r f e i t s y o u r h e a d .
How d a re you t e l l me t h a t h e 's d e a d , when I
T h in k i t k in d f o r t u n e ' s g r e a t e s t c o u rte s y
T h a t he s t i l l l i v e s , and liv e s to w ear my crown?
F o r s in c e th e conquered w o r ld 's a lr e a d y won.
T h a n k s, you k in d f a t e s , t h a t r a is e new fo e s , to a f f o r d
F re s h s u b je c ts s t i l l f o r my v ic t o r io u s sw o rd .
Though Sm erdis l i v e to o u t-b r a v e h is k in g 's command,
'T is b u t to f a l l by a more n o b le h a n d .
And t h a t w h ich does my w i l l i n g sword i n v i t e ,
I now s h a ll conquer i n M andana' s s ig h t .
I ' l l c o u r t h e r w ith th e g lo r y o f my arm s;
C onquest and w a r, l i k e b e a u ty , have t h e i r charm s.
PREXASPES.
How, n o t b e lie v e d I Have I so o f t , f o r t h i s .
Obeyed h is r a g e , and b lo o d y c r u e lt ie s ?
When ra p e s and m urders w ere b u t common s in ;
Such h e a ts o f b lo o d have b u t my p a s tim e b e e n .
A nd, i n r e q u i t a l . I'm th u s f a r a r r iv e d ,
I f in d a t y r a n t 's f a v o r i t e ' s s h o r t - l i v e d .
My d e a th he t h r e a t e n s . S in ce he does d i s t r u s t
My f a i t h and l o y a l t y , i t w ere b u t j u s t
T h a t he s h o u ld f in d me f a l s e who th in k s me so;
N o r am I b re d so ta m e , o r b o rn so lo w .
To be o u t-b ra v e d by k in d s .
E n te r a M e s se n g e r, who d e liv e r s a l e t t e r to P rexasp es,
95
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105
110
155
E x i t .
120
125
MESSENGER.
From S m erd is , s i r . and t r u s t
To f in d him g r a t e f u l , as he f in d s you j u s t ,
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PREXASPES.
Happy o c c a s io n . Now I may p u rs u e
B o th my re v e n g e , and my a m b itio n t o o . A s id e .
Go t e l l y o u r k in g , I m ust n o t s to p my e a r s . Opens th e l e t t e r .
When m onarchs th u s a re my p e t i t i o n e r s . E x i t M e s s e n g e r.
A s s is t h im I P a u s in g upon th e l e t t e r .
T ru e s ta te s m e n s h o u ld n o t re g a rd
The j u s t i c e o f th e a c t , b u t th e re w a rd .
The M e d ian c ro w n I — H is p ro m is e s a r e la r g e .
And i n t e r e s t w i l l g r e a t e r f a u l t s d is c h a r g e .
Now I w i l l f i n d f r e s h s u b je c ts f o r fa m e 's w in g s , 140
To t e l l th e w o rld I r u l e th e f a t e o f k in g s .
Though I c a n 't b o a s t o f c ro w n s, my g lo r y is
T h a t e m p ire s by my pow er do f a l l , and r i s e .
P erh ap s th e f r a n t i c z e a l o f th e w o rld may s a y ,
I i n j u r e h e a v e n , when I my k in g b e t r a y . 145
L e t f o o ls be j u s t , c o u r t s h r in e s , h ave homage p a id
To im a g e s , th o s e gods in m a sq u e ra d e.
R e lig io n , l o y a l t y , and th e a i r y s c r o l l
O f g o d s , a r e s tr a n g e r s to a S c y th ia n 's s o u l. E x i t >
Scene Two
The Scene C o n tin u e s
E n te r M andana, a lo n e .
MANDANA.
And w i l l th e a n g ry gods f o r e v e r fro w n ?
Have I n o t l o s t a f a t h e r , and a crown?
B u t t h a t w h ic h m ost h e a v e n 's c r u e lt y does show.
Who s h a re s my h e a r t does s h a re my f o r t u n e to o .
The hand o f w ar m ore c r u e l wounds n e v e r g a v e ;
O s i r i s , to o , i s th e p ro u d t y r a n t 's s la v e .
C ould p ro v id e n c e t h i s u n ju s t deed d e s ig n
O s ir is s h o u ld w ea r any c h a in s - - b u t m ine?
O ur f a t e th e m a lic e o f o u r s t a r s does p ro v e ;
I f th e r e be any s t a r s t h a t en vy lo v e .
E n te r O s i r i s ,
O^IS.
Do you rem em ber th o s e s t r i c t vows you m ade.
And th o s e s o f t charm s in w h is p e rs you c o n ve y ed .
When I , and E g y p t b o th , d id happy p r o v e .
They in t h e i r k in g , I i n M an d an a' s lo v e ?
She weeps.
10
1 3 6 . T ru e sta te sm e iQ Q l, Q 2, Q 4; T r u e , s ta te s m e n , Q 3.
9 . o u r s t a r s j Q l, Q 3, Q4; th e s t a r s , Q 2.
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12
MANDANA.
I d o , O s i r i s , and rem em ber, to o , 15
I a lw a y s p a id my p ro m is e s to y o u .
O S IR IS .
Y o u r c o n s ta n c y c o n firm s t h a t h a p p in e s s
W hich y o u r h ig h fa v o r d id a t f i r s t c o n fe r ;
B u t s o u ls so much d iv in e can do no le s s .
As gods a re c o n s ta n t, ' cause th e y c a n n o t e r r . 20
T h is d a y , I h o p e, o u r m u tu a l lo v e s s h a l l cro w n .
MANDANA.
Y e s , S i r , i t s h a l l , i f h eaven w i l l g iv e us le a v e .
O S IR IS .
When y o u , M andana, s m ile , h e av e n c a n n o t fro w n .
MANDANA.
No, unkind fate does your fond hopes deceive.
You know, O s i r i s , t h a t I made t h is vow 25
T h a t, w it h my lo v e , I w o u ld my crow n b e s to w .
And from her vow Mandana will not start;
I ' l l g iv e an e m p ire , when I g iv e a h e a r t .
But since my captive fate my crown has lost.
Y o u r hopes and m ine th u s e q u a lly a r e c ro s s e d . 30
To g iv e you le s s w o u ld seem to o low a t h in g ;
My heart alone's too mean an offering.
O S IR IS .
I n t h is d e c re e you do too c r u e l p ro v e .
To t h in k t h a t fo r t u n e can g iv e law s to lo v e .
And to y o u r b e a u ty y o u 'r e in ju r io u s grow n; 35
You c a n n o t b o rro w lu s t r e fro m a cro w n .
N o, he who i n M andana' s b r e a s t does r e ig n .
I s ta u g h t a l l m eaner e m p ire s to d is d a in .
MANDANA.
O s i r i s , n o , y o u r to o fo n d z e a l m is ta k e s .
Love w i l l a d m it no s la v e s - - b u t w h at i t m akes. 40
Love b y o u r m is e r ie s w o u ld s u l l i e d b e .
E c lip s e d and c lo u d e d i n c a p t i v i t y .
O ur f a t e th e c ro w n in g o f o u r lo v e c o n t r o ls .
OSIRIS.
We have b u t c a p t iv e 's f o r t u n e s , n o t t h e i r s o u ls .
T h e ir s o u ls to th e h ig h e s t p it c h o f g re a tn e s s r i s e , 45
T h a t can th e em pty fro w n s o f f a t e d e s p is e .
I n o u r d a rk fo r t u n e lo v e w i l l s h in e m ore b r i g h t .
As diam onds b o rro w lu s t r e fro m th e n i g h t .
4 6 . T h a t c an ] Q l, Q2, Q4; W hat c a n , Q 3.________________________________________
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
13
MANDANA.
No, n o , you m ust yo u r h o p e les s lo v e fo re g o ,
You m ust, O s ir is , — lo v e w i l l have i t so .
O S IR IS .
And can you g iv e w hat I s h a ll n e v e r enjoy?
Can lo v e a lo v e r ’ s h ap p in ess d e s tro y ?
MANDANA.
I f e re my s ta rs my ra v is h e d crown r e s t o r e .
T i l l th e n , e x p e c t t h a t I can g iv e no m ore.
O S IR IS .
You a re too c r u e l.
MANDANA.
No, I am too k in d .
T h is r e s o lu tio n in my b r e a s t is s ig n e d .
I do command yo u , u rg e no m ore.
O S IR IS .
You may
Command my d e a th , you know I must o b ey.
MANDANA.
No, my O s ir is , l i v e , and l i v e to be
More happy th a n you can be made by m e.
Y e t from yo u r b r e a s t
L e t n o t Mandana be so f a r rem oved,
B ut s t i l l you may remember - - t h a t we lo v e d .
O S IR IS .
Oh, my h a rd f a t e I
She does deny me lo v e , y e t b id s me l i v e ;
Y e t ’ t i s h e r kin d n ess does t h is sen ten ce g iv e .
How s tr a n g e ly is my h ap p in ess d estro yed ?
H e r to o much lo v e lo v e 's r u in has d e c re e d .
As lam ps, t h a t s u r f e i t when th e y 'r e o v e rc lo y e d .
Do p e r is h by t h a t o i l on w hich th e y fe e d .
50
She s ig h s .
55
P r o ffe r s to go o u t, a t
w hich O s ir is o f f e r s to
s p eak.
60
E x it .
70
E x i t .
6 7 . me l o v e ] Q2, Q3; my lo v e ,
Q l, Q4.
1 0 . And make] Q l, Q2, Q3; And
made, Q 4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
14
A c t Two. Scene O ne.
A P a la c e
E n te r S m erdis and P a t a s it h e s , w it h G uards and A tt e n d a n t s .
PATASITHES.
'Tw as by h e a v e n 's p le a s u r e , and o u r w i l l s d e c re e d ,
To p la c e th e crow n o f P e r s ia on y o u r h e a d .
L e t d u l l s u c c e s s iv e m onarchs i d l y w a it
To be e n th ro n e d by th e s lo w hand o f f a t e .
And P h o e n ix - lik e , e x p e c t t h e i r r i s e and power 5
O n ly fro m th e ashes o f an a n c e s to r .
You b y a n o b le r fo r c e h ave e m p ire g a in e d .
W re s tin g th e s c e p te r fro m Cam byses' h a n d .
Thus on h is r u in you h is th ro n e a s c e n d .
And make th e means as g lo r io u s as th e e n d . 10
SMERDIS.
The f a t e o f crow ns depends on common c h a n c e .
F o rtu n e and pow er may to a th ro n e a d v a n c e .
B u t to c o n firm t h a t crow n o u r pow er a f f o r d s .
R e q u ire s o u r s o u ls more a c t iv e th a n o u r s w o rd s .
PATASITHES.
You m ust y e t a c t u n seen and v e i l y o u r pow er 15
U n t i l y o u r th u n d e r 's i n y o u r hand s e c u re .
T i l l th e n . S i r , you y o u r m a je s ty m ust s h ro u d .
L ik e lig h t n i n g , ta k in g b i r t h f i r s t fro m a c lo u d .
T i l l y o u , l i k e t h a t , a f u l l - b l o w n g lo r y w e a r.
And g a in a t once b o th re v e re n c e and f e a r . 20
E n te r T h eram n es.
THERAMNES.
Y o u r s u b je c ts ' jo y s grow lo u d , as i s y o u r fam e;
P e r s ia speaks n o th in g now , b u t S m e rd is ' nam e.
And t h e i r e x c e s s iv e jo y s so h ig h a d v a n c e .
T h e ir p i e t y 's jo in e d w it h t h e i r a lle g ia n c e .
R e n d e rin g t h a t hom age, w h ic h to h e a v e n is d u e , 25
A d o rin g le s s th e r i s i n g s u n , th a n y o u .
SMERDIS.
'T is t h is m ust make my s o v e r e ig n ty c o m p le te ;
Those jo y s t h a t sp eak them l o y a l , sp eak me g r e a t .
A c t Two. Scene O n e J A c t O ne. Scene T h r e e ., Q l, Q2, Q4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
15
THERAMNES.
You co n q u ero rs have o u t-d o n e ; y o u r name a ffo r d s
The s u b je c ts o f more tr o p h ie s th a n t h e i r sw ords.
G re a t C y ru s ' g lo r ie s m ust su b m it to you;
He conquered n a tio n s , you t h e i r h e a r ts subdue.
SMERDIS.
T h is is b u t h a l f a co n q u est; who defen d s
A crow n, conquers h is fo e s , as w e ll as f r ie n d s .
And now o u r cause f o r speedy a c t io n c a l l s ;
Cambyses is in s ig h t o f S u sa's w a lls .
Go th e n , Theram nes, m u ster a l l o u r f o r c e .
Our S y ria n i n f a n t r y , and P e rs ia n h o rs e .
P re p a re such s tre n g th t h a t i t may be e xp re s se d
T h a t we can co n q u e r, i f he d a re r e s i s t .
THERAMNES.
I do n o t co n q u est d o u b t. W h ils t m onarchs a re
Them selves above p la c e d in a h ig h e r s p h e re ;
You, l i k e th e h e av e n s, y o u r s ac re d powers d is p e n s e ;
Y o u 'l l g iv e us co n q u est by y o u r in f lu e n c e .
SMERDIS.
See how th e fo n d d elu d ed w o rld m is ta k e s
And w hat f a ls e l i g h t my borrow ed g lo r y m akes.
Y e t such as d a z z le s P e r s ia . T h is d is g u is e
Has r a is e d so t h ic k a m is t b e fo re t h e i r eyes
T h a t my b e s t f r ie n d s , Theram nes, and th e crowd
O f w o n d 'rin g s u b je c ts a l l a re in one c lo u d ;
And t h e i r m is ta k e n f a it h s so f a r a d va n c e.
T h a t th e y seem r i v a l s in a lle g ia n c e .
L ik e t h e ir d e v o tio n whom th e gods im p lo r e .
Men f i r s t b e lie v e , and th e n th e y do a d o re .
PATASITHES.
Thus k in g s and b e a u ty in th is t i t l e s h a re ,
'T is th e a d o r e r 's eye makes b e a u ty f a i r .
The P e rs ia n s thus by t h e i r a lle g ia n c e show
Y o u 're th e tr u e p r in c e , i f th e y b u t t h in k you so.
SMERDIS.
I by such a r t s do the w o r ld 's em pire sway.
As th e w o r ld 's fram e does n a t u r e 's law s obey;
Moved by a cause a d m ire d , b u t n e v e r known.
S e c re ts o f s ta t e and h eaven a g re e i n o n e.
Thus I and thus th e gods th em selves d is g u is e
T h e ir h ig h e s t d e sig n s i n d a r k e s t m y s te r ie s .
30
35
40
E x i t ,
45
50
55
60
E x e u n t.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
16
Scene Two.
The Scene C o n tin u es
E n te r Phedima and O rin d a
ORINDA.
Love in my b r e a s t sh o u ld w ith slow p ro g re s s move
Were th e re no o th e r in t e r e s t in lo v e .
PHEDIMA.
Why, w hat more can th e re be?
ORINDA.
Y es , I w ould have
My b e a u ty 's c a p tiv e be my h o n o r's s la v e .
B rave c o n q 'ro rs s co rn th e p r iz e th e y w in , w h ils t th e y
Aim o n ly a t th e fame o f v ic t o r y .
B ut y o u r to o humble lo v e ta k e s a low f l i g h t .
When you th u s d o te upon a f a v o r i t e .
Can y o u r D a riu s - -
PHEDIMA.
Can D a riu s seem
U nw orthy th e n o f P hed im a's esteem ?
'T w ere im pious to w ish my p a s s io n le s s ;
H is m e r it s , n o t my lo v e , have t h e i r e x c e s s .
ORINDA.
T h ere ' t i s . N o t f a t e n o r ages s h a ll d e s tro y
The a lt a r s you have r a is e d to th e b lin d b o y .
The w o rld has n o t a r e a l h a p p in e s s .
To be compared to lo v e 's im a g in a ry b l i s s .
And th en in co n stan cy t h e r e 's such a p r id e .
Such jo y s , such charm s, and heaven knows w hat b e s id e ;
T h a t lo v e s a god, a god in d e ed no d o u b t.
B ut ' t i s w ith those whom ig n o ra n c e makes d e v o u t.
Y our lo v e w ith p io u s fla m es to t h a t d e g re e .
T h a t n o th in g s h a ll e re shake y o u r c o n s ta n c y .
'T is w e ll r e s o lv e d . B ut s e v e r a l reaso n s may.
S p ite o f yo u r vows, y o u r c a n c e lle d lo v e b e tr a y .
L o v e 's b u t a p le a s a n t dream ; d is tu r b e d o r c ro s s e d ,
^The fa n c y w akes, and th e gay t r e a s u r e 's l o s t .
PHEDIMA.
S i s t e r , you make me a n g ry , when you th in k
My honor o r my lo v e so low can s in k .
10
15
20
25
30
1 5 -3 0 . N o t i n Q l, Q2, Q4.
Scene Tw o.] A c t One. Scene F o u r ., Q l, Q 2, Q4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
17
The vows w h ich to h is b r e a s t my s o u l conveyed
A re s a c re d as th e gods t h a t h e a rd them m ade.
And as u n c h a n g e a b le .
E n te r Theram nes.
THERAMNES.
S h e 's h e re I
ORINDA.
Theram nes i s a man I can commend; 35
He s e rv e s you and a d m ire s you as a f r i e n d .
W ith o u t d e s ig n , h is th o u g h ts more c le a r l y move,
U n s u llie d w ith t h a t base s e l f - i n t e r e s t , lo v e .
To Phedim a.
40
THERAMNES.
I come to t e l l you my unhappy f a t e ;
Y o u r generous fr ie n d s h ip m ust be tu rn e d to h a te
So much I s h a ll o ffe n d y o u , t h a t you m ust
Be c r u e l, h a t e , and s co rn me, to be j u s t .
PHEDIMA.
W hat is t h a t c rim e d e s e rv e s so i l l fro m me?
THERAMNES.
Cambyses does h is fo r c e to w ard s Susa le a d .
And aim s h is vengeance a t h is b r o t h e r 's h e a d . 45
And I , by my a lle g ia n c e , m ust engage
My s o v e r e ig n 's arms a g a in s t a t y r a n t 's r a g e .
B u t w h ils t I , i n th e g o d s ', and S m e rd is ' r i g h t .
A g a in s t t h a t im p io u s b lo o d y m o n s te r f i g h t ,
I h o ld a sword a g a in s t D a r iu s ' b r e a s t , 50
The man t h a t n e x t my p r in c e I h o n o r b e s t .
A nd, madam, though as y e t y o u r s m ile s and fame
Have made me b u t a c q u a in te d w it h h is name.
Y e t so much to h is d is t a n t g l o r y 's due.
He i s ad o red by me, because h e 's lo v e d b y y o u . 55
H e, by h is fo n d a lle g ia n c e b l i n d l y le a d .
H is arm has to th e t y r a n t 's i n t e r e s t wed;
And I fro m f a t e t h is c r u e l ta s k r e c e iv e .
To f i g h t a g a in s t h is l i f e f o r whom you l i v e .
PHEDIMA.
I n t h i s , to o , generou s S i r , w here l i e s y o u r crim e? 60
You a re an enemy to h is c a u s e , n o t h im .
N o r is th e r e a n y th in g i n t h is e x tre m e .
B u t c o u r tin g h o n o r on a d i f f e r e n t th em e.
Go on; and th o u g h t you v a r io u s p a th s p u rs u e .
Be b o th h is f r ie n d and g lo r y 's r i v a l to o . 65
3 1 - 6 5 . N o t in Q l, Q 2, Q ^ ________________________________________________________
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
18
E n te r Sm erdis and P a t a s ith e s .
SMERDIS.
T h is i s t h a t Phedim a I ' v e seen b e fo r e ;
W hat th e n I b u t a d m ire d , I now a d o re .
My p r iv a c y my p a s s io n th e n c o n fin e d ,
A fla m e to o n o b le f o r so low a m ind;
Now n o th in g my lo v e 's freed o m can c o n t r o l;
My e m p ire 's l i m i t s do e n la r g e my s o u l.
To w h at k in d god am I in d e b t f o r t h is
D e a r m in u te ? Madam, t h in k how g r e a t 's h is b l i s s
Who has th e happy freed o m to r e v e a l
W hat has b een lo n g a to rm e n t to c o n c e a l.
To my lo n g w ish ed and ad o red s a in t I b r in g
A m o n arch 's h e a r t , y o u r b e a u ty 's o f f e r in g
The n o b le s t p r e s e n t t h a t h is lo v e can m ake.
And y e t th e lo w e s t you can sto o p to ta k e .
PATASITHES.
W hat do I h e ar?
PHEDIMA.
I s a l l t h is m eant to me?
70
To Phedim a.
75
A s id e .
To S m e rd is .
ORINDA.
As I c o u ld w is h I Now, lo v e , now c o n s ta n c y ! A s id e .
SMERDIS.
To a s s e r t t h is t r u t h , e re I th e s c e p te r b o re .
My s o u l d id p r i v a t e l y th o se eyes a d o r e .
B u t th e n I fe a r e d th e j u s t i c e o f y o u r fro w n .
And d a re d n o t own my lo v e b e lo w a crow n .
B u t now my g ro w in g p a s s io n 's b o ld e r m ade.
W h ils t I more n o b ly do y o u r h e a r t in v a d e .
PHEDIMA.
The P e r s ia n m o n a rch 's lo v e I Now I ' l l p r o c la im
My c o n stan c y to my D a r iu s ' fla m e .
PATASITHES.
Godl How does h is d is t r a c t e d fa n c y r o v e .
P r e f e r r e d to e m p ire , to s u b m it to lo v e !
PHEDIMA.
My co u rag e i n t h is cause s h a ll a c t such th in g s .
I ' l l p ro v e my f a i t h by my d is d a in o f k in g s .
I ' l l t r e a t him s o , t h a t fame s h a l l w itn e s s b e .
None e v e r lo v e d , o r e v e r sco rn ed l i k e me.
6 6 - 9 6 . N o t in Q l, Q 2, Q 4.
85
A s id e .
A s id e .
Aside.
95
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
ORINDA.
I f she r e s i s t a k in g ,
H e r lo v e .
I m ust ad m ire
19
A s id e ,
THERAMNES.
I n re v e re n c e I w i l l r e t i r e .
PHEDIMA.
Theram nes, s ta y .
THERAMNES.
My s ta y w i l l ru d e a p p e a r.
PHEDIMA.
T h e r e 's n o th in g he can say b u t you may h e a r .
O ffe r s to g o .
100
SMERDIS.
Such b e a u ty w ould so w e ll become a th r o n e .
Be p le a s e d , f a i r e x c e lle n c e , to a c c e p t a crow n.
PHEDIMA.
Im a g in e , S i r , t h is lan guage does s u r p r is e , 105
B u t when back on m y s e lf I c a s t my e y e s ,
I sh ould s u sp e c t you f l a t t e r me, when I
W ant charms to g a in so g r e a t a v ic t o r y .
B u t as I know such v a n it ie s a re th in g s
B elow th e p r a c t ic e , o r th e th o u g h ts o f k in g s , 110
I ' l l t h in k y o u 'v e wronged y o u r s e lf and c a s t a th o u g h t
On such an o b je c t as d e se rv es i t n o t.
A nd, S i r , to make me u n d eserved a p p e a r.
From my own m outh my a c c u s a tio n s h e a r .
I f o f f e r in g s o f lo v e and crowns you m ake, 115
U n g r a te fu l I m ust n o t those p re s e n ts ta k e .
PATASITHES.
I'm p a s t a l l p a tie n c e . A s id e .
ORINDA.
'T is a r a r e c o n stan c y can crowns d e s p is e . A s id e .
THERAMNES.
Happy D a riu s in so b ra v e a p r i z e . A s id e .
PHEDIMA.
To g iv e you hopes y o u r g re a tn e s s w ould ab u se , '.120
And th e r e fo r e I t h is ro u g h e r s t y le m ust u s e;
I m ust s c o rn e m p ire s , and re fu s e a k in g .
9 7 -1 2 2 . N ot in Q l, Q2, Q4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
20
SMERDIS.
From w hat h a rd vows does t h is h a rs h s en ten ce s p rin g ?
PHEDIMA.
From vows to o s tro n g to o b re a k , to o s a c re d too
To be d is c lo s e d . S i r , I have in ju r e d y o u .
S in ce no r e t u r n o f lo v e I e re can m ake.
I ' l l h id e th e weapon f o r th e u n k in d w ound's s a k e .
T hus, S i r , I ' l l ta k e th e s e f a t a l eyes aw ay.
125
F a r e w e ll, I ' l l n e v e r see you m ore.
V e ils h e r s e l f .
O ffe r s to g o .
SMERDIS.
N o, s ta y . S tays h e r .
And g iv e me day a g a in ; d is p e l t h a t n ig h t ,
Thougii h a te d , l e t me t h a t b le s s e d f i g h t e n jo y .
Be n o t more c r u e l th a n o u r sun, whose ra y s o f l i g h t
S hine b o th on whom th e y c h e r is h and d e s tr o y .
PHEDIMA.
A l l new in v a s io n s o f my peace fo r e b e a r ; 135
P ursue n o t t h a t w h ich I w ith h o r r o r h e a r .
Now I have made my s a c re d th o u g h ts so p l a in .
Y ou, i n p ro c e e d in g , c o u rt n o t, b u t p ro fa n e .
I f you in v a d e s t i l l w h a t's a n o th e r 's d u e.
Y o u 'l l m eet my fro w n s , who have my p i t y now. 140
SMERDIS.
How can you fro w n , w h ile you th u s v e ile d c o n fu te
T h a t p u n ishm ent y o u r frow ns should e x e c u te .
The f i e r c e s t lig h t n in g n e v e r wounds, when thus
A v e i l o f c lo u d s is drawn ' t w ix t t h a t , and u s .
PHEDIMA.
S i r , to c o n s u lt y o u r in t e r e s t and my own.
And to shun k in d n e s s where I can pay none;
I f i n t h is p a th you one s te p f u r t h e r move.
I ' l l f l y y o u r em p ire to a v o id y o u r lo v e .
E xeu n t Phedim a, O rin d a .
SMERDIS.
I p re ss e d too f a r I m ust c o n fe s s , y e t though
H er coyness th r e a te n e d , i t in v it e d to o . 150
Thus c u rio u s we in t o a n g ry comets p r y .
W hich b u t a t b e s t th r e a te n i l l d e s tin y ;
When o u r in q u ir y does n o t re a c h so f a r .
To know th e a s p e c t o f a m ild e r s t a r .
PATASITHES.
L o ve, l i k e th e s ta r s t h a t r u le i t , s h o u ld a c t iv e move; 155
You ta lk e d to o i d l y . S i r , to be i n lo v e .
1 2 3 -1 5 6 . N o t i n Q l. 0 2 . 0 4 . _____________________________________________
145
and Theram nes.
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21
SMERDIS.
How, S ir I
PATASITHES.
I o n ly t e l l you t h a t you wrong
Y our g re a tn e s s when you stoop to t a l k so lo n g .
L o vers sh o u ld n o t such te d io u s t r e a t i e s h o ld ,
Love I s a th in g t h a t 's sooner done th a n t o l d .
B u t you fo r g o t to ta k e th e p ro p e r c o u rse ;
C onquests a re n o t by p a r le y won, b u t fo r c e .
S i r , you s h a ll have h e a r; s h e 's y o u r own.
SMERDIS.
Rash man.
Y ou, I n t h is la n g u a g e , a l l t h a t 's good p ro fa n e .
PATASITHES.
W h ils t w ith tame c o u rts h ip you yo u r jo y s p r o t r a c t .
You b u t th e k in g , she does th e t y r a n t a c t .
B u t she d e r iv e d h e r power from yo u r tame f e a r s .
She knows t h a t lo v e rs d a re n o t g iv e o ffe n s e ;
Thus f e a r makes gods who d e if ie d th e s t a r s ,
B u t o n ly th o se who fe a re d t h e i r In flu e n c e ;
I f you th e n lo v e d , why d id you n o t e n jo y?
Can a k in g 's m odesty h is hopes d e s tro y ?
SMERDIS.
Such base and u n ju s t deeds w ould b u t p ro c la im
Me an Im p o s to r g r e a t e r th a n I am.
PATASITHES,
'T is k in g s make j u s t i c e , and n o t j u s t ic e k in g s ;
And In t h a t name you may do s tra n g e r th in g s .
And s t i l l be j u s t . The P e rs ia n k in g s d e s ig n
No woman more th a n f o r a c o n c u b in e .
And In t h a t o n ly name she sh ould n o t have
The c o u rts h ip o f a m is tre s s b u t a s la v e .
You th e n s h o u ld fo r c e h e r whom you c o u ld n o t move,
SMERDIS.
F o rc e may s u p p o rt my e m p ire , n o t my lo v e .
B e a u ty , l i k e m a je s ty . Is s ac re d to o ,
And m ust I t th e n be th u s blasphem ed by you?
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170
175
180
185
1 5 6 -1 6 7 . N o t I n Q l, Q2, Q4. 1 6 8 -1 8 6 . A l l e d s .
1 8 6 . blasp h em ed ] Q3; p ro fa n e d , Q l, Q2, Q4.
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22
PATASITHES.
Y o u r th o u g h ts and p a s s io n s a re to o hum ble grow n.
You do f o r g e t y o u 'r e s e a te d on a th r o n e .
O ffe r s to g o , and m eets P re x a s p e s . e n t e r in g
d is g u is e d , who s e e in g them , u n d is g u is e s .
SMERDIS and PATASITHES.
P re x a s p e s I
PREXASPES.
I n t h i s d is g u is e I fro m th e camp am come.
To t e l l you I have s e a le d Cam byses' doom.
Led by my c o u n c il. S i r , he does d e s ig n
A th r e e d a y 's tr u c e b e fo r e th e s ie g e b e g in ;
To w h ich you m ust c o n s e n t.
T h in g s m ust a p p e a r as sm ooth as c a lm e s t s e a s .
And Susa w ear th e f l a t t e r i n g s m ile s o f p e a c e .
And f o r my management o f t h is d e s ig n .
Y o u r h e lp to o m ust a s s is t a n t be to m in e .
The t y r a n t 's l i f e s h a ll w it h h is e m p ire e n d .
SMERDIS.
A m o n a rch 's p a tr o n .
190
195
200
PATASITHES.
And an e m p ire 's f r i e n d . E x e u n t Sm erdis and P a ta s ith e s
I s lo v e an o b je c t f o r h is m in d , w h ich s h o u ld
Be now em ployed w it h th o u g h ts o f w ars and b lo o d ?
Cambyses now may h is re ve n g e p u rs u e .
And e a s i l y co n q u er w here lo v e can su b d u e.
Love does debase a l l c o u ra g e , and he i s .
L ik e tame b e a s ts , o n ly f i t f o r s a c r i f i c e .
B u t I ' l l in v e n t a c u re .
W e ll I ' l l remove
H e r s a fe enough b o th fro m h is pow er and lo v e .
Love i s a p a s s io n f o r lu x u r io u s p e a c e .
When id le n e s s in d u lg e s th e d is e a s e .
B u t n o t f o r a c t iv e s o u ls ; I ' v e fo u n d th e way
To t u r n t h a t c u r r e n t , w h ich I c a n n o t s t a y .
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210
E x i t ,
1 8 7 -1 8 8 . A l l eds, 1 8 9 -2 1 0 . N o t in Q l, Q2, Q4.
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23
Scene T h r e e .
A B ed -C h am b er.
E n te r Phedim a and O r in d a ,
ORINDA.
S i s t e r you a r e so f o r t u n a t e to have
The P e r s ia n m onarch f o r y o u r b e a u t y 's s la v e .
PHEDIMA.
N o, i p my lo v e a m b itio n has no p a r t ;
M onarchs may r u l e an e m p ire , n o t a h e a r t .
W h ils t my D a r iu s lo d g e s h e r e , my b r e a s t
Too n a rro w I s f o r any o th e r g u e s t.
May S m erd is s t i l l th e P e r s ia n s c e p te r b e a t ,
And may he s t i l l r e ig n e v e ry w h e re , b u t h e r e .
ORINDA.
You ad van ce c o n s ta n c y to a h e ig h t unknow n.
B u t fam e to y o u r g r e a t lo v e 's m a lic io u s g ro w n .
Y o u r s tra n g e r e f u s a l o f th e p o w e r fu l charm s
O f m a je s ty th e a s to n is h e d c o u r t a la rm s ;
And w h i ls t th e y y o u r g r e a t c o n s ta n c y a d m ire .
They b u s i ly t h e i r w o n d e r's cause I n q u i r e .
L o u d ly th e y t a l k , b u t by f a l s e ju d g m e n t le d .
They f i x th e l a u r e l on T h e ram n e s ' h e a d ;
I n h im th e y say th e s u b tle m ag ic l i e s .
F o r whose lo v e 's sake you c o u ld a crow n d e s p is e
PHEDIMA.
I s a l l t h is s a id o f me?
ORINDA.
Y e s , and b e lie v e d .
PHEDIMA.
How f o n d ly th e m is ta k e n w o r ld 's d e c e iv e d I
They c a n 't b e lie v e I t .
ORINDA.
I n one v o ic e , on h is s c o re
Th ey p la c e t h i s s tra n g e a v e r s io n .
PHEDIMA.
H o ld . No m o re.
Shame and c o n fu s io n has so f i l l e d my b r e a s t
T h a t I w an t p a tie n c e to h e a r o u t th e r e s t .
P o in ts to
h e r b r e a s t .
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15
20
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1 - 8 . B e g in I I . 4 I n Q l, Q 2, Q 4. 9 - 2 7 . N o t I n Q l, Q 2, Q 4.
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ORINDA.
Why a l l t h is rage? W h at, must y o u r p a s s io n s w e ll
Because m ankind is n o t i n f a l l i b l e ?
Can you b e lie v e t h a t fame speaks alw a y s tru e ?
PHEDIMA.
Y e s , I am a n g ry , and have re a s o n to o .
I owe so much even to D a r iu s ' name,
I w ould n o t have him r i v a l l e d b u t i n fam e.
ORINDA.
You know D a riu s has b een a b s e n t lo n g .
And l a s t im p re s s io n s have a pow er m ost s tro n g ;
Y o u r l a t e r fa v o rs to Theramnes showed
M a n y .th ro u g h m is ta k e th e c re d u lo u s c o u r t d e lu d e .
PHEDIMA.
B u t how c o u ld a l l t h is ru d en ess ta k e such v e n t,
U n le s s Theram nes gave i t encouragem ent?
I f , as you s a y , t h is rum or i s so lo u d .
H is e a r must have some sh are on i t in th e crowd;
H e 's n o t so mean a c o u r t ie r as to m eet
No f l a t t e r e r s f o r a v ic t o r y so g r e a t .
And su re he c an n o t be a man so v a in .
To l e t my honor b e a r so f a ls e a s t a in .
ORINDA.
T h a t v a n it y i s fr e q u e n t in m ankind
To own those fa v o rs w h ich th e y do n o t f i n d .
I w ish he d i d n 't h is s e x 's p r id e a f f e c t .
To be th o u g h t lo rd s o f w hat th e y n e 'r e e x p e c t.
B u t i f he does - -
PHEDIMA.
He c a n 't be g u i l t y o f so base a f a c t ,
To f o r f e i t a l l h is honor in one a c t .
The v ir t u e s in h is b r e a s t to o numerous w e re ;
He c o u ld n o t i n one m in u te ra z e o u t a l l .
G re a t v ir t u e s l i k e g r e a t e m p ire s ru in e d a r e .
They by d eg rees m ust s in k b e fo r e th e y f a l l .
ORINDA.
B u t say he th in k s he has cause to be thus v a in .
Suppose he lo v e s , and th in k s h e 's lo v e d a g a in .
In a l l th e fa v o rs you have heaped on h im .
Have you done n o th in g m ig h t l i k e k in d n e s s seem.
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35
40
45
50
55
60
2 8 -6 0 . N ot in Q l, Q2, Q4. 4 9 . d id n ' t ] d o n 't , Q 3,
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25
PHEDIMA.
N o th in g ,
B u t where he m ig h t my in n o c e n t fr ie n d s h ip f i n d .
And h e 's a man too w i t t y to be b l i n d .
ORINDA.
B u t p erh ap s he y o u r k in d n e s s has m is to o k .
F o r lo v e rs can t r a c k lo v e in e v e ry lo o k
A la d y does im p a rt; and e v e ry g la n c e
Does to an unknown h e ig h t t h e i r hopes a d va n c e.
The lan g u ag es o f la d ie s ' s m ile s s u f f ic e
F o r lo v e rs to re a d c o n tr a c ts in t h e i r e y e s .
Y onder he comes. Do you unseen r e t i r e .
And when y o u 'r e g one. I ' l l c a r e f u l l y in q u ir e
The c au s e . I ' l l sound h is h e a r t and s a t is f y
Y o u r honor and my c u r io s i t y .
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E x i t Phedim a.
E n te r Theram nes.
ORINDA.
Theram nes, l e t me b u t one q u e s tio n move?
THERAMNES.
Y o u r p le a s u r e . Madam. 75
ORINDA.
D id you e v e r lo ve?
THERAMNES.
W hat does she mean, t h a t she whom I a d o re .
Should a sk me th a t I n e v e r d a re d speak b e fo re ?
A s s is t me, lo v e , and g iv e me power to show
C ourage enough to own my o v e rth ro w .
A s id e .
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ORINDA.
W hat does y o u r answ er need so g r e a t a pause?
THERAMNES.
And can you d o u b t th e e f f e c t who a re th e cause?
How can you th in k t h a t he who sees y o u r e y e s .
Can be exem pted fro m t h e i r v ic t o r ie s ?
To d o u b t I lo v e yo u , yo u r own pow er s u s p e c t;
From such b r ig h t charms who can h is h e a r t p ro te c t?
85
ORINDA.
Is t h is th e lan g u ag e o f h is w i t o r h e a r t I
P erhaps h e 's g u i l t y , and t h is s t y l e 's b u t a r t .
P erhaps he does s u s p e c t w hat I w i l l a s k .
A s id e .
6 1 - 8 9 . N o t in Q l, Q2, Q4.
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And to d iv e r t me from i t assumes th e mask
To fo rc e me to a b lu s h on my own s c o re .
T h a t I may ta x him in h e r name no m ore.
He may be g u i l t y and ashamed to h e r ,
B ut s h a ll
S i r , th ese e x p re s s io n s n e e d le s s a r e .
I know yo u r h e a r t .
THERAMNES.
W hat co u ld my s ta rs do more
Then t h a t O rin d a knew my h e a r t b e fo re 1
ORINDA.
S ince you y o u r s e lf a c a p tiv e do c o n fe s s ;
Theram nes, you may le a v e i t to me to guess
Your c o n q u e ro r.
! THERAMNES.
And has she guessed my lo v e so r i g h t , and l e t
The knowledge in w ith such a s m a ll re g re t?
And does she f i r s t b e g in the happy theme?
A re my hopes r e a l , o r some a i r y dream?
ORINDA.
B ut o f w hat d a te has t h is yo u r p a ss io n been?
THERAMNES.
S in ce th e f i r s t day I had my conqueror seen.
I n a deep s ile n c e and as g r e a t a f e a r .
In v a in I passed a lo n g and te d io u s y e a r .
And l i k e t h a t y e a r now i t ' s whole co u rse is ru n .
T h ere f in d m y s e lf where I a t f i r s t begun.
ORINDA.
And co u ld yo u r lo v e to such a h e ig h t ad van ce.
And you n o t d a re to g iv e i t u tte ra n c e ?
THERAMNES.
L o ve, Madam, is n o t w ith such ease k e p t h id .
B u t in o u r v e ry eyes i t may be re a d .
B e a u tie s t h a t in our h e a rts n o u ris h a f i r e ,
L ik e to the gods t h a t do those flam es in s p ir e ;
T h e ir s e rv a n ts ' s ile n c e seldom do m is ta k e .
B u t know t h e i r w ishes though th e y n e v e r speak.
Thus I have u tt e r e d i t .
ORINDA.
And o n ly thus?
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To Theram nes.
A s id e .
100
A s id e .
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110
115
120
9 0 -1 2 1 . N ot in Q l, Q2, Q4.
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THERAMNES.
Perhaps some few s ig h s an escape have made;
B u t those I checked as to o a m b itio u s .
F e a rin g th e y had my h ig h p la c e d lo v e . b e tr a y e d . 125
ORINDA.
B ut has yo u r lo v e so s i l e n t been as n o t
To speak one word? T h in k , you may have f o r g o t .
I w i l l r e fr e s h yo u r memory; perhaps
I , S i r , may r e c o l l e c t some s li g h t escapes
You th o u g h t n o t w o rth p re s e rv in g ; have you exp ressed
N o th in g o f s ie g e s to my s i s t e r 's b re a s t?
130
THERAMNES.
What does t h is mean? U n less she je a lo u s be
I lo v e e ls e w h e re , and t r i e s my c o n s ta n c y .
I f i t be so , how can I h a p p ie r p ro v e .
F o r where t h e r e 's je a lo u s y , th e re m ust be lo v e .
A s id e .
135
ORINDA.
Whence does t h is clam orous a s p e rs io n s p r in g .
T h a t f o r yo u r sake she has re fu s e d a k in g ?
I f , S i r , you had th e c o n fid e n c e to g iv e
T h is s ca n d a l l i f e , o r s u f f e r i t to l i v e .
In e i t h e r , y o u 'r e u n ju s t . How d a re you see
H er fa c e , and n o t suppress t h is infam y?
140
THERAMNES.
By h e av e n , o r w hat I e q u a lly a d o re .
Y o u r s e lf , t h is s ca n d a l I n e v e r h e ard b e fo r e .
B ut th a t you may n o t my wronged s o u l m is ta k e ,
I n e v e r d ared h u r t yo u r sex f o r your d e a r s a k e .
Abuse yo u r s i s t e r 's honor'. No, to p ro ve
I n e v e r a s p ire d to the f a i r P hed im a' s lo v e .
And much le s s in ju r e d i t , l e t t h is s u f f i c e ,
I owe my co n q u est to O r in d a 's e y e s .
145
ORINDA.
C o n fu sio n '. I w ith more im p a tie n c e h e a r
H is lo v e to me, th e n h is abuse to h e r .
I f th en yo u r g u i l t is n o t to h e r , b u t me.
Know, S i r , t h a t I can fro w n as w e ll as sh e.
A s id e .
E x e u n t.
E n te r a g a in Phedima and O rin d a .
PHEDIMA.
I'm s a t is f i e d h e 's in n o c e n t.
He to y o u r in flu e n c e h is conquest owes. 155
1 2 2 -1 5 5 . N ot i n Q l, Q2, Q4.
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28
ORINDA.
B u t h e re he has a c r u e l m is tre s s chose.
To lo v e , you know, I have d e fia n c e made.
P H E D IM .
B u t where fo r c e c a n n o t, p i t y can in v a d e .
Our sex a g a in s t re s o lv e s does o ft e n s in .
And h a rd e r h e a rts have l e t th e co n q u ero r in .
The e f f e c t s o f b e a u ty b e a u ty f i r s t f o r g iv e s .
And a f t e r pardon p i t i e s , th e n r e lie v e s .
So, by d e g re e s , th e in c re a s in g power goes on.
And w hat can n o t by s to rm , by s ie g e is won.
ORINDA.
As i f a la d y 's b r e a s t no courage h e ld .
And o u r tame s o u ls w ere o n ly ta u g h t to y i e l d .
No, to o u r lo n g a p o s ta te sex I ' l l r e a r
A new r e l i g i o n , and w ith lo v e make w a r.
E n te r A to ss a who d e liv e r s a l e t t e r to Phedim a.
PHEDIMA.
From my D a riu s '.
See w ith w hat e c s ta s y he t e l l s me how
The f a t e o f w ar is no more c r u e l now.
A new made tru c e has g iv e n him l i b e r t y
To q u it th e camp t h is day to v i s i t me.
I ' l l i n s t a n t ly a welcome answ er send.
And t e l l him w here h is p re se n c e I ' l l a tte n d .
Y ou, s i s t e r , and Theramnes s h a ll be th e r e .
No more y o u r h e a r t s h a ll a g a in s t lo v e d e c la r e .
You from o u r m e e tin g e y e s .s h a ll such im p re s s io n ta k e .
T h a t o u r exam ples s h a ll a c o n v e rt m ake.
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165
showing h e r
R ead s.
To O rin d a ,
th e l e t t e r .
175
E xeu n t
ATOSSA.
B e fo re D a riu s in t o E g yp t w e n t,
I was h is p a s s io n 's s e c r e t c o n fid a n te .
And i t w ere a f a u l t n e v e r to be excu sed .
Should I w ith s ile n c e see h is r i g h t abused.
Theram nes' u p s t a r t i n t e r e s t , and h e r s tra n g e
E x tra v a g a n t fa v o rs th e r e , p o rte n d some chang e.
'T is n o t th e s ta te he l e f t h e r in ; n o r he
S u s p ic io n s g ro u n d le s s where a l l tongues a g re e .
The c o u rt t a lk s lo u d ; and a c c u s a tio n s , to o .
When th e y a re u n iv e r s a l, m ust be t r u e ,
I m ust n o t th e n my s ac re d t r u s t b e tr a y ;
M eet h e r , he s h a ll; b u t I ' l l p re p a re h is way.
Phedim a and O rin d a .
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185
190
E x i t .
1 5 6 ^ 1 9 1 . N o t in Q l, Q 2, Q4. 1 8 1 . c o n f id a n t ^ c o n fid e n t, Q 3.
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29
Scene F o u r .
A R o y a l P a v ilio n
E n te r Cambyses and P re x a s p e s .
CAMBYSES.
Enough. I am c o n vin c e d o f S m e rd is ' f a t e .
'T is w e ll my b lo o d does n o t d is t u r b my s t a t e .
How s i t s th e c lo u d upon M an d an a's brow?
PREXASPES.
She does n o t tim e b u t to h e r te a r s a llo w .
CAMBYSES.
M a rb le sheds t e a r s , b u t c an n o t s o f t e r grow ;
H e r h e a r t 's s t i l l h a rd , and e v e r w i l l be s o .
E n te r M andana, who, s e e in g Cambyses, o f f e r s to go o u t .
CAMBYSES.
S ta y , c r u e l p r in c e s s , s t a y . A re yo u r f a i r eyes
A f r a id to lo o k on t h e i r own v ic t o r ie s ?
O r, a re you s t a r t l e d a t y o u r own g r e a t p o w er,
To see yo u r s la v e i n th e w o r ld 's co n q u ero r?
Who fro m y o u r in flu e n c e does h is g re a tn e s s ta k e .
And conquers o n ly f o r M andana' s s a k e .
MANDANA.
0 f a t a l b e a u ty I Was i t M andana' s eyes
T h a t made you w in h e r crow n, and s a c r i f i c e
H e r f a t h e r 's blood?
CAMBYSES.
Y o u r lo s s e s I ' l l r e s t o r e
W ith crowns more b r ig h t th a n Am asis e v e r w o re .
MANDANA.
No, t y r a n t ; know my s o u l-'s n o t sunk so f a r
To stoop to my g r e a t f a t h e r 's m u rd e re r.
Have I m y s e lf no b e t t e r u n d e rs to o d
Then th u s to found my g re a tn e s s on h is b lo o d ?
Y o u r p r o f f e r e d crowns c an n o t my th o u g h ts c o n t r o l;
You have subdued my e m p ire , n o t my s o u l.
CAMBYSES.
Madam, how d a re you th u s p ro vo ke h is h a te
W ho's th e d is p o s e r o f y o u r crow n and f a t e ?
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15
20
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1 - 4 . B e g in I I . 5 in Q l, Q 2, Q4.
5 - 6 . I n I I . 5 i n Q l, Q2, Q4.
7 - 2 5 . Same as Q2.
i n Q l, Q4.
A ppear as 3 4 -4 6
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30
MANDANA.
Y e s , S i r , you o f my l i f e and th ro n e d is p o s e .
And th o se a re t r i f l e s I c o u ld w is h to lo s e .
B u t know , p ro u d k in g , my v i r t u e I ' l l s e c u re ;
My h o n o r i s above a t y r a n t ' s p o w e r.
CAMBYSES.
C a p tiv e , f a r e w e l l . S in c e you so s tu b b o rn p ro v e ,
I w i l l ta k e c a re you s h a ll be ta u g h t to lo v e .
A g u s t o f p a s s io n has uncalm ed my s o u l;
My b lo o d does w it h a l i v e l i e r m o tio n r o l l .
A f i e r c e a s s a u lt my drow sy s o u l does s to rm ;
And b id s my lo v e w ear a more m an ly fo rm .
My re a s o n now s h a ll my b lin d p a s s io n g u id e ;
I ' l l be a v a s s a l to h e r e y e s , n o t p r id e .
S in c e th e n my m ild n e s s c o u ld n o t w in a s m ile .
I ' l l le a r n to c o u r t h e r i n a ro u g h e r s t y l e .
E n te r O ta n e s , D a r iu s , and A r ta b a n .
My la b o r in g th o u g h ts m ust now make t r u c e . My lo r d s .
W i l l th e re be an em ploym ent f o r o u r swords?
How s t r o n g 's t h e i r g a r r is o n , how g r e a t t h e i r fo rc e ?
OTANES.
T h e ir num ber, S i r , is f i f t y thousand h o rs e ;
And tw ic e t h a t number is t h e i r i n f a n t r y .
CAMBYSES.
Then th e y a r e f i t to be overcom e b y me.
You th e n m ust know fro m whence t h is w ar does s p r in g .
And who w o u ld be m y -b r o th e r , and y o u r k in g .
DARIUS.
Who, b u t y o u r b r o t h e r , d a re s y o u r s e a t s u p p ly .
A b a s e r b lo o d c o u ld n e v e r have th o u g h ts so h ig h .
CAMBYSES.
You a r e m is ta k e n . S i r ; he w ears no crow n
U n le s s some k in d god has l e n t him o n e .
S m erdis i s d e a d .
OTANES.
How dead? And by whose hand?
E x i t .
30
35
40
45
50
CAMBYSES.
I t was by h i s , and ' tw as a t my command. P o in ts to P rex a sp e s
2 6 - 5 4 . Same as Q 2. A p p e a r as 4 7 -7 5 i n I I . 5 i n Q l, Q4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
31
OTANES.
Then th e w a r 's d o n e . Y o u 'v e ro b b ed us o f o u r f o e .
CAMBYSES.
A y e , S i r , o f h im I ro b b ed you lo n g a g o .
'T i s n o t my b r o t h e r t h a t does w ear my cro w n .
ARTABAN.
Y o u r b r o t h e r d e a d , y e t S m erdis in y o u r th ro n e ?
DARIUS.
Who th e n is he d a re s t h a t h ig h t i t l e c la im
U s u rp in g b o th y o u r e m p ire , and h is name?
CAMBYSES.
F a ls e P a t a s it h e s , whom I r a is e d above
E i t h e r my s u b je c t s ' e n v y , o r t h e i r lo v e .
Has i n r e q u i t a l ro b b e d me o f t h a t th r o n e .
U n d er whose lu s t r e he so b r i g h t was gro w n .
Thus th e m oon's k in d n e s s does th e s u n 's r e q u i t e .
E c lip s in g h im fro m whom she ta k e s h e r l i g h t .
H is kin sm an S m erdis he does s u b t ly b r in g
To r e p r e s e n t my b r o t h e r , and y o u r k in g .
E n te r P a t a s it h e s , d is g u is e d .
W h a t's he t h a t to o u r p re s e n c e does in tr u d e ?
PATASITHES.
S i r , ' t i s my l o y a l t y t h a t makes me r u d e .
PREXASPES.
'T is h e , g r e a t S i r , t h a t i n o u r cause does j o i n ,
T h a t c h i e f e s t a g e n t i n o u r g ra n d d e s ig n .
CAMBYSES.
And do you know t h a t S m e rd is , S i r , t h a t w ould
L ay c la im b o th to my e m p ire , and my b lo o d ?
PATASITHES.
D read S i r , he i s to me so n e a r a l l i e d .
He fro m my b r e a s t c a n n o t h is s e c r e ts h id e .
CAMBYSES.
B u t a r e you s u re he i s y o u r t r u s t y fr ie n d ?
55
60
65
70
75
To P re x a s p e s .
5 5 - 7 7 . Same i n Q 2 . A p p e a r as 7 6 -9 8 i n I I . 5 i n Q l, Q 4.______________
6 5 .4 E n te r P a t a s it h e s , d is g u is e d / ) E n te r S m e rd is , d is g u is e d , Q2.
A l l f o llo w in g speeches spoken b y S m erdis i n Q2.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
32
PREXASPES.
As s u re as a i l th e t i e s on e a r t h can b in d .
PATASITHES.
On t h i s , g r e a t K in g , w e 'v e fo u n d ed o u r d e s ig n ;
The c h a rg e o f S u s a 's w e s te rn g a te i s m in e .
And t h a t w h ic h to o u r s a f e t y does c o n d u c e.
You know th e consequence o f a la z y t r u c e .
T ru c e s w h ic h seem b u t m a r t i a l m asques, and a re
The c rim e s o f p eace d re s s e d i n th e g a rb o f w a r.
Know, th e n , d u r in g t h i s t r u c e , h is fo r c e s be
Armed o n ly f o r t h e i r ease and lu x u r y .
Y o u , th e n , t h is n ig h t s h a l l w it h y o u r arm y w a it ;
I ' l l g iv e you e n tr a n c e a t th e w e s te rn g a t e .
Then on th e E a s t I ' l l g iv e a f a l s e a la r m .
T h a t e r e h is p a r t y s h a ll h ave tim e to arm
You s h a l l have fo r c e d y o u r p a s s a g e , won th e to w n .
S e iz e d th e u s u r p e r , and r e g a in e d y o u r c ro w n .
CAMBYSES.
W e ll, I ' l l t h is n i g h t , a d v a n c in g i n t h e i r h e a d .
To Susa my triu m p h a n t fo r c e s le a d ;
None b u t my sword my q u a r r e l s h a l l d e c id e .
DARIUS.
C o n q u est and y o u . S i r , e v e r w ere a l l i e d .
B u t, S i r , th e b re a c h o f tr u c e a s t a in w i l l be
To th e b r i g h t g lo r y o f y o u r v i c t o r y .
' T w i l l an e c lip s e to y o u r g r e a t fam e p ro d u c e .
CAMBYSES.
Why, S i r , was i t n o t I t h a t made th e tru c e ?
DARIUS.
I t w as.
CAMBYSES.
Then w h at I made I may d e s tr o y ;
I n t h i s d e s ig n , you m ust y o u r swords e m p lo y .
DARIUS.
When you command, th e cause we do n o t w e ig h ;
Y o u 'v e ta u g h t o u r sw ords to c o n q u e r, and o b e y .
80
85
90
95
100
105
To P a t a s ith e s .
CAMBYSES.
See t h a t o u r e n tr a n c e be w it h c a re p re p a re d ;
We s h a l l n o t w an t s u c c e s s , n o r you re w a rd .
E x e u n t Cam byses, O ta n e s , D a r iu s , and A rta b a n .
7 8 - 1 0 7 . Same as Q 2. A p p ear as 9 9 -1 2 8 i n I I . 5 i n Q l, Q 4.
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33
PATASITHES.
N o u g h t b u t h is d e a th s h a l l f o r re w a rd s u f f i c e .
F o r when he e n te r s S u s a 's w a lls , he d ie s *
'T i s th e l a s t c o n q u e s t t h a t h is sword s h a l l h a v e ,
To w in t h a t g ro u n d on w h ic h he makes h is g r a v e .
B ra v e f r i e n d Î
PREXAPSES.
H is d e a th s h a l l make o u r f r ie n d s h ip good;
No t i e s as s tro n g as w h a t a r e w r i t ' i n b lo o d .
110
E x e u n t,
1 0 8 -1 1 4 . Same as Q 2. A p p e a r as 1 2 9 -1 3 5 i n I I . 5 i n Q l, Q4.
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34
A c t T h re e . Scene O ne.
The Camp.
E n te r D a riu s and O s i r i s , D a riu s w ith an open l e t t e r i n h is h a n d .
DARIUS.
D u rin g t h is tr u c e we w i l l to Susa g o.
To pay a d e b t I to my p rin c e s s owe.
Two s o v e re ig n s , young p r in c e , have each t h e i r p a r t ,
The K in g my h an d , and Phedim a my h e a r t .
B u t, S i r , y o u r fr ie n d s h ip s h ares p a r t i n my b r e a s t; 5
I c a n 't g iv e you a l l , b u t t r u s t you w it h th e r e s t .
T h is v i s i t , to o , is n o t a lo n e d e sig n e d
To a m is tr e s s , b u t y o u r second s e l f , a f r i e n d .
O S IR IS .
My r i v a l . S i r , name h im , w hat f r ie n d is he?
DARIUS.
I am unknown to h im , and he to me; 10
S tra n g e rs to e ac h .
O S IR IS .
T h is is a r i d d l e , to o ;
A f r i e n d , and one you n e v e r saw, n o r knew .
DARIUS.
B u t, S i r , I am no s tr a n g e r to h is fam e;
T h eram n es' v ir t u e s do my f r ie n d s h ip c la im . 15
O S IR IS .
B u t whence a ro s e t h i s m y s tic sym pathy?
DARIUS.
'Twas P h ed im a' s f a i r hand t h a t made t h i s t i e .
H is w o rth , h is d e e d s , h is s e r v ic e she commends;
T h a t 'tw e r e u n ju s t we s h o u ld be le s s th a n f r ie n d s .
She g iv e s him such a g lo r io u s c h a r a c t e r , 20
T h a t b e in g h is f r i e n d , I do b u t second h e r .
And th e n h e r l e t t e r s t e l l me how t h a t she
Has g iv e n him such a c h a r a c te r o f me
T h a t he a lr e a d y is im p a t ie n t grown
T i l l b o th o f us a re to each o th e r known. 25
1 - 2 5 . A p p ear as 1 -2 5 i n I I I . 2 i n Q l, Q2, Q 4.
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35
O S IR IS .
F r ie n d s h ip a s tr a n g e r p ro g re s s n e v e r m ade.
T h a t by a m e d ia to r i s conveyed;
You c o u r t Theram nes' lo v e , a f r ie n d u n s e e n .
As k in g s by p ro x ie s c o u r t a f o r e ig n q u een .
E n te r A to s s a .
DARIUS.
A to s s a , my d e a r c o n fid a n te ; how s ta n d
My m ig h ty hopes? B u t why t h is v a in demand I
Hope in g r e a t lo v e rs l i k e d e v o tio n s h o u ld
To change be no more s u b je c t th a n th e god
To w h ich i t i s p a id .
30
ATOSSA,
My L o rd , I was th o u g h t j u s t .
And w ould be s t i l l .
DARIUS.
Y o u r t r u t h who d a re s d is t r u s t ?
ATOSSA.
I a lw a y s w ish ed you s a f e .
DARIUS.
And made me s o .
To you th e know ledge o f my heaven I ow e.
W henever my a b s e n t s a in t was p le a s e d to a c c e p t
My d is t a n t vow s, you th e d e a r tr e a s u r e k e p t .
W henever she c a s t a fa v o r a b le th o u g h t.
By you th e k in d c r e d e n t ia ls s t i l l w ere b ro u g h t.
My lo v e 's good g e n iu s .
ATOSSA.
W ould I c o u ld be s t i l l .
And n o t th e unwelcom e m essenger o f i l l .
B u t I m ust t e l l you words o f such a sound
W i l l dampen y o u r c o u ra g e , and y o u r peace confound,
You know Theram nes i s y o u r m is t te s s ' f r i e n d .
DARIUS.
Y e s , and m in e , to o .
ATOSSA.
Y o u r c h o ic e does h e rs commend.
'T is th e n by h e r exam ple you a re k in d .
35
40
45
50
2 6 - 2 9 . A ppear as 2 6 -2 9 i n I I I . 2 in
__________ Q l. Q2. Q4._____________________
3 0 - 5 3 . N o t i n Q l, Q2, Q4.
3 0 . c o n fid a n te ] c o n fid e n t, 0 3 .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
36
DARIUS.
W hat does she mean? A s id e .
Why n o t? 55
ATOSSA.
O n ly I f in d
Y o u r m ig h ty fr ie n d s h ip when com pared i s s m a ll;
The copy is b e lo w th e o r i g i n a l .
DARIUS.
W hat do I h e a r'. B u t I ' l l su p p ress my d o u b t.
And s ta y my w onder t i l l I ' v e h e a rd h e r o u t . 60
ATOSSA.
T h a t lo s s w h ich once y o u r k i l l i n g ab sen ce made;
His kind reception has of late repaid.
H e r h o u rs le s s te d io u s p a s s ; n o t sum m er's sun
Then she more e a r ly h is gay lo o k s p u ts o n .
B u t, S i r , n o t to be lo n g a k i l l i n g , know 65
To t h a t new f a v o r i t e you y o u r r u in ow e.
The a ss id u o u s v i s i t s , f r e e a c c e s s , and d e a r
K in d lo o k s she gave to you a re d o u b ted t h e r e .
So p u b lic ly i s h is g r e a t i n t e r e s t fam ed .
Y ours was b u t w h is p e re d , h is lo u d lo v e 's p ro c la im e d . 70
Cam byses' th re a te n e d ven g ean ce i s n o t m ore
The p u b lic t a l k o f P e r s ia th a n h is pow er
I n P h ed im a 's h e a r t .
DARIUS.
No. 'T is fa m e 's f a l s e , n o t s h e .
Can a d i v i n i t y c o rru p te d be? 75
I t is im p o s s ib le .
ATOSSA.
B u t, S i r , t h e r e 's odds
Betwixt such idols which men make, and gods;
And thoug h heaven c a n n o t, f l e s h and b lo o d may chang e.
B u t g r a n t t h i s a c c u s a tio n may seem s tr a n g e , 80
And fame be th o u g h t a l i a r when i t p a in t s
I n such d a rk c o lo rs such a p p e a rin g s a in t s ;
G ra n t h is a d d res s was f r ie n d s h ip , y e t when she
H e r s e lf has h e a rd o f t h is lo v e in fa m y .
And does n o t s t r i v e h e r i n j u r i e s to r e p a i r , 85
B u t h is access is s t i l l as f r e e as e r e ;
W h ile h e r fo n d th o u g h ts to t h i s s u b m is s io n bow,
'T is g u i l t , n o t in n o c e n c e , a d m its h im now.
'T is t r u e , y o u r l e t t e r in a g en ero u s s t y le
She an sw ered ; b u t t h e r e 's tre a s o n i n h e r s m ile . 90
5 4 - 9 0 . N o t i n Q l, Q2, Q4.
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37
To p a l l i a t e a fa ls e h o o d , s h e 's so k in d
To a p p o in t you w here to m eet h e r ; b u t y o u ' l l f in d
Theram nes m ust c o n d u c t h e r to t h a t p la c e ;
He m ust b e , p r e s e n t when she g ra n ts t h a t g r a c e .
And s u re f o r two who once so d e a r ly lo v e d ,
Two so lo n g p a r t e d , and so f a r rem oved.
To m eet i n c ro w d s, and a t a tim e .
When by th e chance o f w a r, b e fo r e fe w days a r e p a s s e d .
She knows n o t b u t t h a t m e e tin g is y o u r l a s t .
A l o v e r 's p a r t she has n o t o v e rd o n e .
When y o u r f i r s t v i s i t m ust h ave lo o k e r s o n .
DARIUS.
I s t h i s th e man she p r a is e d ; i s lo v e so b lin d
I c o u ld n o t see my r i v a l i n h e r f r i e n d .
A th o u s a n d th in g s c o n v in c e I am b e tr a y e d ;
Has she a c o n t r a c t w it h Theram nes m ade.
And can h e a v e n s u f f e r i t ? S i r , i f you d a re
O u t-f a c e th e w o rs t o f tr e a s o n s , re a d them t h e r e .
T r y i f y o u r c o u rag e do n o t s t a r t to see
A m ore inhum an b a rb a ro u s c r u e l t y .
Then h e a v e n o r h e l l , f u r i e s o r f a t e , o r a l l
B u t woman can in v e n t - - b u t th e s e a r e s m a ll;
And p e t t y s p o r t iv e c rim e s i n them to p ro v e
F a ls e and d i s lo y a l to t h e i r o a th s and lo v e .
O S IR IS .
She does y o u r m e r it s w ro n g . B u t ' t i s th e f a t e
O f lo v e r s . S i r , to be u n f o r t u n a t e .
DARIUS.
B u t s in c e D a r iu s such h a rd f o r t u n e b e a r s ,
I w i l l o u td o th e m a lic e o f my s t a r s .
I ' l l be m ore c r u e l th a n my f a t e ; I ' l l make
My j u s t re v e n g e my in ju r e d cause p a r t a k e .
R e v en g e , th e o n ly p le a s u r e o f d e s p a ir ;
Him fr o m t h e r b r e a s t , o r h e r fro m h is I ' l l t e a r .
I ' l l end my w rongs by h i s , o r my own f a t e ;
L o s in g h e r lo v e , I w i l l d e s e rv e h e r h a t e .
H is b lo o d , o r m in e , my f u r y s h a l l a to n e ;
I ' l l cause h is f a l l , o r c ru s h h im w it h my own.
95
100
105
110
115
120
E x e u n t.
9 0 - 1 1 4 . N o t i n Q l, Q 2, Q 4. 1 1 5 -1 2 5 . A p p ear as 6 0 -7 1 i n I I I . 2
i n Q l, Q 2, Q 4._____________
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38
Scene Two.
The P a la c e .
E n te r S m e rd is .
SMERDIS.
H e r p a s s io n has some m ore th a n common t i e .
When p r o f f e r r e d crowns c a n 't shake h e r c o n s ta n c y .
She has c o n fe s s e d h e r lo v e , though n o t th e man.
B u t t h a t to a je a lo u s eye is b u t to o p l a i n .
She f o r Theram nes has t h is r i g o r shown 5
To h im who w ith h is lo v e p r o f f e r r e d h is th ro n e ;
And to c o n v in c e me my s u s p ic io n 's t r u e .
W hat made him p r e s e n t a t o u r in t e r v ie w .
By h e r command, u n le s s h e r p r id e to make
Him s t a y , to see h e r s c o rn me f o r h is sake? 10
B u t he s h a ll d ie to make my p a s s io n room;
Y e t s t a y , t h e r e 's d a n g e r i n a p u b lic doom.
To e x e c u te a fa v o r e d r i v a l is
The way to lo s e h e r lo v e f o r w h ich he d ie s .
By tre a c h e ro u s s m ile s , th e n . I ' l l h is r u in a c t , 15
As s tra n d e d v e s s e ls i n a calm a re w ra c k e d .
E n te r Theram nes, who s e e in g S m erd is , o f f e r s to w ith d ra w .
Th eram n es, s ta y .
THERAMNES.
I f e a r I am to o ru d e .
I SMERDIS.
Th eram n es, n o , a f r ie n d c a n n o t in t r u d e .
THERAMNES.
B u t I h ave p re s s e d in t o y o u r p r iv a c ie s . 20
SMERDIS.
F r ie n d s h ip above a l l p r iv a t e b u s in e s s i s ;
U n le s s i t be th e h ig h co n cern s o f lo v e
And h o n o r. B u t th e r e we two e q u a l p ro v e
R iv a ls i n b o th .
THERAMNES.
W hat means my k in g ? 25
SMERDIS.
I mean
O n ly one b e a u ty o v e r b o th o f us does r e ig n .
1 - 2 7 . N o t in Q l, Q 2, Q 4.
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39
THERAMNES.
No, you whose e m p ir e ’ s g re a tn e s s i s above
A l l r i v a l s , s h o u ld a d m it none in yo u r lo v e .
And th in k you t h a t my c o n fid e n c e a s p ir e s
To c o u rt t h a t b e a u ty w h ich my k in g ad m ires?
SMERDIS.
T h in k you I can b e lie v e you n e v e r saw
The eyes and charms o f th e f a i r Phedima?
How can you u t t e r so p ro fa n e a w ord,
To say she can be s e e n , and n o t adored?
THERAMNES.
L o v e , l i k e r e l i g i o n , n e v e r chose one way
T h a t a l l s h o u ld to one o b je c t homage p a y .
The sun does to th e w o rld h is s ig h t a f f o r d .
B u t by th e P e rs ia n s o n ly is a d o re d .
SMERDIS.
B ecause th e r e s t o f th e w o rld a re ig n o r a n t
And do th e know ledge o f h is go d -h ead w a n t.
B u t you who know how g r e a t d i v i n i t y
I n P hed im a’ s m ost s a c re d b r e a s t does l i e .
C a n 't b u t a d o re h e r .
THERAMNES.
Y e s , I can do m o re .
I am beyond h e r b e a u ty ’ s charms and p o w er.
I n t h is one g lo r y I o u t ^ r iv a l you;
Those eyes w h ich d id th e P e rs ia n k in g subdue.
T h e ir p o w e r’ s to o weak to c a p t iv a t e my h e a r t .
SMERDIS.
H is lo v e 's too s tro n g to be c o m p elle d by a r t ,
O r fo rc e d to a c o n fe s s io n .
'Twas th e excess
O f p a s s io n made my je a lo u s y tr a n s g r e s s .
Though he so r e s o lu t e ly does m a in ta in
He does n o t lo v e , th e r id d le I ’ l l e x p la in
And o f h is h e a r t a p e r f e c t s e a rc h I ’ l l m ake.
M onarchs th e s e c r e ts o f th e s k ie s can t r a c t .
And s e a rc h h e a v e n ’ s c o u n c ils ; how th e n can m ankind
A c t i n a c lo u d t h a t w h ich we c an n o t fin d ?
30
35
40
45
50
A s id e .
E x i t Theram nes.
55
E x i t .
2 8 - 5 9 . N o t in Q l, Q2, Q 4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
40
Scene T h re e .
A G ro v e .
E n te r Phedima and O rin d a .
PHEDIMA.
T h is is th e happy h o u r, and t h is th e g ro v e ;
Oh th e d e a r tra n s p o r ts o f ap p ro ac h in g lo v e .
E n te r two V i l l a i n s , unseen by Phedima and O rin d a .
1 . V IL L A IN .
We a re to s e iz e th e P rin c e s s Phedim a,
And she has ta k e n a p r iv a t e w a lk t h is way.
2 . V IL L A IN .
And P a ta s ith e s gave us charge t h a t we
Should ta k e th e s a fe s t o p p o r tu n ity .
1 . V IL L A IN .
Oh, h e r e 's th e p r iz e ; l e t ' s s e iz e them .
2 . V IL L A IN .
S ta y , I ' l l go.
And see f i r s t i f th e c o a s t be c le a r , o r no;
L e s t by some sudden rescu e th e y e scap e. E x it 2 . V i l l a i n .
1 . V IL L A IN .
T h e y 're o b je c ts more f o r p i t y , th an a ra p e ,
Had n o t o u r p a tr o n 's bo u n ty made us b o ld
B eau ty w ants power when w e 're f i r s t charmed w ith g o ld .
E n te r a g a in th e Second V i l l a i n .
2 . V IL L A IN .
I ' v e view ed aro u n d , and I can o n ly spy
One man w it h in th e p ro s p e c t o f my e y e . 15
1 . V IL L A IN .
One s in g le man s h a ll n o t d is tu r b o u r p r iz e .
F o r i f he chance to come t h is way, he d ie s .
They ru s h and s e iz e th e L a d ie s .
BOTH LADIES.
H e lp , h e lp '. Inhuman r a v is h e r s I
1 - 2 . N ot in Q l, Q2, Q4.
3 -1 3 . A ppear as 1 2 1 -1 3 1 in I I I I 3
in Q l, 0 2 . 0 4 ._______________
1 4 -1 8 . A ppear as 1 3 8 -1 4 2 in I I I . 3
in Q l, 0 2 , 0 4 .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
41
E n te r T heram nes.
THERAMNES.
W hat sudden c r y 's t h is t h a t in v a d e s my ears?
H a l R a v is h e rs I And my O rin d a to o l 20
My sword m ust p le a d w hat my lo v e c o u ld n o t do. D raw s.
Unhand them , v i l l a i n s . B eau ty n e v e r is
O rd a in e d f o r such a ru d e embrace as t h i s .
Unhand them , o r you d i e .
1 . V IL L A IN .
T h a t you sh o u ld do; 25
Our swords s h a ll a c t t h a t k in d n e s s . S i r , f o r yo u .
B o th V i l l a i n s draw upon h im .
The L a d ie s s te p in betw een them to p a r t th em .
PHEDIMA.
H o ld , V i l l a i n s , h o ld .
THERAMNES.
G iv e me le a v e ;
My t i t l e t h e i r base numbers does s u rp a s s .
I need no o th e r second, b u t y o u r c a u s e . 30
Puts th e L a d ie s by and f i g h t s .
E x it Phedim a and O rin d a , c r y in g f o r h e lp .
E n te r D a r iu s , f i g h t i n g .
i DARIUS.
I S in c e honor does to th e w eakest p a r t i n c l i n e ,
i A g a in s t such odds i t makes th e q u a r r e l m in e .
! Draws and f i g h t s on Theram nes' s id e ;
j The Two V i l l a i n s a re w ounded.
G iv e them t h e i r l i v e s .
V IL L A IN .
We s co rn a base r e p r ie v e ;
W e 'l l e it h e r conquered d ie , o r c o n q u e ro rs l i v e . 35
F ig h t c o n tin u e s . 2 V i l l a i n s f a l l .
THERAMNES.
'T is y o u r a s s is ta n c e has th e g lo r y won.
Y o u r generous a id . S i r , has my sword o u t-d o n e .
DARIUS.
I'm happy in p e rfo rm in g h o n o r's la w s .
B u t s h a ll be h a p p ie r when I know th e c a u s e .
: 1 9 - 3 9 . A ppear as 1 4 3 -1 6 4 in I I I . 3 in Q l, Q 2, Q4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
42
THERAMNES.
'Tw as in tw o l a d ie s ' q u a r r e ls t h a t I drew
T h a t sword t h a t 's now made f o r t u n a t e by y o u .
B e a u tir e s whose p o w e rfu l in f lu e n c e i s so g r e a t
To g u id e o u r sw o rd s, we c o u ld n o t b u t d e f e a t
An army i n t h e i r c a u s e .
DARIUS.
Know you t h e i r names?
THERAMNES.
S tra n g e rs to t h a t , a re s tr a n g e r s to o to fam e;
Phedim a and O r in d a , la d ie s who
A re b e a u t y 's w o n d e r, and i t s envy to o .
DARIUS.
Ha I In t h e i r cause 1
THERAMNES.
F o rtu n e c o u ld n e v e r a f f o r d
A cause m ore n o b le to T h e r a m n e s s w o r d .
DARIUS.
Theram nes'. O h, ye g o d s l Thanks to my f a t e ;
T h a t a t t h i s h o u r has made me f o r t u n a t e .
THERAMNES.
The h a p p ie s t chance t h a t o u r k in d s t a r s c o u ld s en d .
T h a t we t h e i r l i v e s and h o n o rs s h o u ld d e fe n d .
DARIUS.
I n t h e i r d e fe n s e you have y o u r co u rag e shown.
B u t you w i l l show i t b e t t e r i n y o u r own.
THERAMNES.
T h is s tra n g e a s s a u lt I c a n n o t u n d e r s ta n d .
DARIUS.
My m e a n in g 's l e g ib l e - - h e re i n my h a n d .
THERAMNES.
T h a t la n g u a g e is to o h a rd to be u n d e rs to o d .
DARIUS.
I t w i l l b e p la in e r when ' t i s w r i t t e n i n b lo o d .
D raw , t r a i t o r .
4 0 - 4 5 . A p p ear as 1 6 4 -1 6 9 in I I I . 3
i n Q l, Q 2, Q 4.
40
45
50
A s id e .
55
D ra w s .
60
4 5 . names?]!
4 6 . A p p ears as 170 in I I I . 3 in
nam e, a l l eds
Q l, Q 2, Q 4.
4 9 - 6 2 . A p p ears as 17 2 -1 8 8 in
I I I . 3 i n Q l, Q 2, Q 4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
43
THERAMNES.
F i r s t , y o u ' l l g iv e me le a v e to know
From w hat s tra n g e r o o t t h is sudden ra g e does g ro w .
DARIUS.
Y o u r p a r le y does b u t my re v e n g e d e la y . 65
THERAMNES.
Then ta k e y o u r c o n q u e st t h is more hum ble w ay. P r o f f e r s
F o r h o n o r h o ld s my hand fro m a d e s ig n h is s w o rd .
A g a in s t h is l i f e who b r a v e ly gave me m in e .
DARIUS.
Honor a refuge for your fear procures.
T h a t d e b t you owe my sw o rd , pay i t w it h y o u rs . .7 0
THERAMNES.
Such a ru d e p a y m e n t.
DARIUS.
Such a weak p re te n s e
S erves b u t to y i e l d a coward a d e fe n s e .
THERAMNES.
My p a tie n c e c a n n o t to t h a t name s u b m it;
I 'm s o rry you m ust have th e p ro o fs o f i t . B o th f i g h t .
Theram nes draws o f f fro m D a riu s in f i g h t i n g and o f f e r s to s p e a k .
S i r , do b u t h e a r —
DARIUS.
M ust you a p a r le y m ake.
Thus to ta k e b r e a t h , when ' t i s th e l a s t y o u ' l l ta k e ?
F ig h ts on and g iv e s Theram nes a m o r ta l w ound.
E n te r O s i r i s , P hed im a, and O rin d a .
PHEDIMA.
W hat new a s s a u lt i s th is ? 80
OSIRIS.
D a r iu s , h o ld l
Y o u r f u r y a g a in s t t h is s tr a n g e r i s to o b o ld .
THERAMNES.
D a riu s '.
The o n ly man on e a r t h whom I d e s ig n e d A s id e .
To be my f r i e n d , my m u rd e re r I f i n d . 85
6 3 rr8 5 . A ppear as 1 8 9 -2 0 7 in I I I . 3 i n Q l, Q 2, Q 4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
44
PHEDIMA.
D a riu s 1
W hat f a t a l cause e n ra g e d you to t h i s s t r i f e
To u se y o u r sword a g a in s t my p r o t e c t o r 's l i f e ?
THERAMNES.
My b lo o d ru n s s lo w ; f a t e now a c ts i t s l a s t p a r t ,
And d e a t h 's c o ld hand moves f a i n t l y o 'r e my h e a r t .
ORINDA.
I 'm bound i n h o n o r f o r t h a t a id you l e n t .
THERAMNES.
T h a t bond you c a n c e l i n th e a ck n o w led g m e n t.
ORINDA.
My fre e d o m you r e le a s e d , a g i f t so g r e a t .
T h a t I m ust owe a ran so m , n o t a d e b t.
PHEDIMA.
B u t, S i r , w h at ra g e arm ed you to t h i s b o ld d e e d .
A g a in s t T h eram n es, whom th e f a t e s d e c re e d - -
DARIUS.
A g a in s t T h eram n es, whom you h ave d e c re e d .
S h o u ld in y o u r lo v e to o h a p p ily s u c c e e d .
PHEDIMA.
A re th e s e th e grounds? Y o u r je a lo u s y rem o ve;
H e 's r i v a l to y o u r c o u ra g e , n o t y o u r lo v e .
H is v a lo r 'tw a s t h a t d id my h o n o r g u a rd .
W hich y o u r ru d e f u r y d id b u t i l l re w a rd .
From th e s e b o ld r a v is h e r s , whose b lo o d he s p i l t .
R escued my l i f e , and recom pensed t h e i r g u i l t .
THERAMNES.
My l i n g e r i n g s p i r i t s do s t i l l f a i n t l y h a l t ;
D e a th s u re has l a i d a s e ig e , n o t an a s s a u lt .
DARIUS.
E x c u s e s , Madam, you b u t f e e b ly m ake,
Fame speaks to o lo u d to s u f f e r my m is ta k e .
PHEDIMA.
D a re you b e lie v e i n fa m e , and n o t t h is b r e a s t?
S u s p ic io u s man, d a re s y o u r w eak f a i t h d ig e s t
Such b ase low th o u g h ts o f me to d a re to t h in k
A s id e ,
To T h eram n es.
95
To D a r iu s .
P o in ts to th e
Two V i l l a i n s .
105
A s id e .
110
8 6 - 1 0 6 . A p p e a r as 2 0 8 -2 2 7 i n I I I . 3
i n Q l, Q 2, Q 4.
1 1 0 -1 1 1 . A p p e a r as 2 3 9 -2 4 0 in
I I I . 3 i n Q l, Q 2, Q 4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
45
My v ir t u e can grow le s s , o r courage s h rin k ?
Y our c rim e had been more v e n i a l , and le s s s tra n g e .
To have th o u g h t ray b e a u ty , th a n my s o u l c o u ld change.
THERAMNES.
In P h ed im a's f a i r eyes such g lo r ie s s h in e
As may command a l l h e a rts to y ie l d b u t m in e .
B u t fro m h e r charms I d id my b r e a s t d e fe n d .
And I am n o t y o u r r i v a l , b u t yo u r f r ie n d .
Y e t though y o u r sword has made my b lo o d ebb lo w ,
My courage s t i l l to th e same h e ig h t does flo w .
And s t i l l my b r e a s t is la r g e enough to a f f o r d
Room f o r yo u r frie n d s h ip ], as i t d id y o u r sw ord.
No more y o u r g ro u n d le ss je a lo u s ie s p u rs u e .
My co n q u est to O r in d a 's eyes is d u e.
B u t I w ant b r e a t h , n o t w ords, f o r my d e fe n s e .
To p ro ve Theram nes' in ju r e d in n o c e n c e .
Y e t i f I can w in y o u r f r ie n d s h ip , I c a n 't c a l l
T h is my d e f e a t , who conquer when I f a l l ;
And may Theramnes now so happy p ro v e .
Who in h is l i f e co u ld n o t d e se rv e y o u r lo v e .
To w in O r in d a 's p i t y when he d ie s .
In l i f e y o u r s la v e , in d e a th yo u r s a c r i f i c e .
115
120
125
F a l l s .
130
To O rin d a .
F a in ts aw ay,
as d e a d .
To D a r iu s .
135
PHEDIMA.
Now see w hat y o u r m is ta k e n ra g e has done.
And triu m p h a t th e conquest you have won.
Look t h e r e , and tre m b le , i f you have a sense
O f h o r r o r e q u a l to h is in n o c e n c e .
DARIUS.
H e 's gone 1 Too l a t e th y innocence a p p e a rs ;
The c u r r e n t o f my rag e now tu rn s to t e a r s .
O s i r i s , ru n , c a l l a l l th e h e lp t h a t 's n e a r .
W h ils t I my h o p e le s s g r ie f s echo to th e a i r .
Y e t th e k in d gods have n o t p la c e d heaven so h ig h .
B u t t h a t o u r s ig h s and p ra y e rs may mount th e s k y .
Was t h is th e o n ly way to re a c h h is h e a r t .
Where he to o g e n e ro u s ly gave me p a rt?
Could I th y in n o cen ce no sooner fin d ?
Is c r u e l je a lo u s y , l i k e lo v e to o , b lin d ?
E n te r O s i r i s ; . w ith A tte n d a n ts , who ta k e up th e body o f Theram nes.
E x i t O s i r i r s .
145
1 12 ? 1 14 . A ppear as 2 4 1 -2 4 3 in I I I . 3
in Q l, Q2, Q4.
1 1 5 -1 1 8 . A ppear as 2 4 8 -2 5 1 in I I I . 3
in Q l, Q2, Q4.
1 1 9 -1 4 6 . A ppear as 2 6 6 -2 9 3 in
I I I . 3 in Q l, Q2, Q4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
46
Thy b lo o d by my unhappy hand was s p i l t ;
L o v e , l i k e r e l i g i o n , i n th e excess grow s g u i l t
Thus lo v e tu rn s je a lo u s y when to o s u b lim e ;
As s u p e r s t it io n i s d e v o t io n 's c r im e .
Use a l l th e a r t s t h a t may r e s t o r e h is b r e a t h .
O r b e g , a t le a s t one h o u r 's r e p r ie v e o f d e a th .
T h a t I to h is p a r t in g s o u l i n t e a r s may t e l l
My g r i e f s , and ta k e my lo n g and l a s t f a r e w e l l .
E x e u n t O s ir is
B u t h o ld ; one d e b t m ore to h is v i r t u e ' s d u e;
O s i r i s , s ta y - - w it h my dead f r i e n d I ' l l go - -
To th e o th e r w o rld - - th u s - - th u s .
PHEDIMA.
You a re to o b o ld .
H o ld y o u r ru d e h a n d .
DARIUS.
And does she b id me h o ld ?
PHEDIMA.
Y e s , S i r , she d o es; she d a re s n o t see you d ie
DARIUS.
Y o u r k in d n e s s th e n r e c a l l s my d e s t in y .
To O s ir is and
150
th e
A tte n d a n ts who
c a r r y o f f
T h e ram n e s .
and A t t e n d a n t s .
155
Goes t o f a l l
upon h is sw o rd .
S ta y s h im .
160
P a s s io n a t e ly .
PHEDIMA.
D a r iu s , l i v e - -
F o r by y o u r h a s ty f a l l C h a n g in g h e r v o ic e .
Y o u r d e a th w o u ld be to o m ild , and p a in to o s m a ll, 165
Y o u r b lo o d w o u ld be to o p r o d ig a lly s p i l t .
L iv e , o n ly to be p u n is h e d f o r y o u r g u i l t .
O r , i f th e e x p e rim e n t o f d e a th y o u 'd t r y ,
'T i s f i t you know y 6 u r s e n te n c e , e r e you d i e .
D e a th i s b u t h a l f th e r i g o r o f y o u r f a t e ; 170
L iv in g you m e r it , d y in g f o r c e my h a t e .
And f a l l u n p i t i e d . Now s t r i k e , i f yo u d a r e ;
T r y i f y o u r co u rag e e q u a ls y o u r d e s p a ir .
Then she whose k in d n e s s d id y o u r hand r e c a l l .
W i l l be m ore k in d - - s h e 'd s m ile - - to see you f a l l . 175
1 4 7 -1 7 5 . A p p e a r as 2 9 4 -3 2 2 i n I I I . 3 i n Q l, Q 2, Q 4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
47
DARIUS.
O h, now I d a re n o t d i e . A s tra n g e r e p r iv e .
When c r u e lt y has pow er to make me l i v e .
B e fo r e , h e r k in d n e s s d id r e c a l l th e s t r o k e ,
And now h e r fro w n s my s e n te n c e do r e v o k e .
B e a u tie s have t h i s p r e r o g a t iv e a lo n e ,
T h e ir pow er i s e q u a l, when th e y s m ile , o r fro w n .
My g u i l t d e s e rv e s th e g r e a t e s t p u n is h m en t
T o r tu r e s can y i e l d , o r j u s t i c e can in v e n t .
And I c o u ld w i l l i n g l y e n d u re th e w e ig h t
O f a l l t h a t I d e s e rv e , e x c e p t y o u r h a t e .
PHEDIMA.
Know i n y o u r a b s e n c e . S i r , th e P e r s ia n k in g
To me has made h is h e a r t an o f f e r i n g .
And had I b ro k e my vows to y o u . I ' d b een
No lo n g e r . S i r , y o u r m is t r e s s , b u t h is Q ueen.
Then ju d g e . S i r , w h e th e r I in c o n s ta n t p r o v e .
Who f o r y o u r sake r e j e c t a m o n a rc h 's lo v e .
S in c e you now see I am b e lo w a th r o n e .
And have re fu s e d th e p r o f f e r s o f a c ro w n .
DARIUS.
You have to o much my b u rd e n e d s o u l o '.r e -c h a r g e d ;
My g u i l t ' s to o bad a them e to be e n la r g e d .
B u t now I f i n d my c rim e s w i l l have no e n d .
A t once I ' v e w ronged my m is t r e s s , and my f r i e n d .
B u t y o u 'v e so much o f h e a v e n , you can f o r g i v e .
PHEDIMA.
Y e s , S i r , I c o u ld , c o u ld b u t Theram nes l i v e .
DARIUS.
I w it h my t e a r s w i l l wash away my c rim e ;
W ith ray lo u d s o rro w s I ' l l re a c h h eaven and h im .
I ' l l p ay such in c e n s e f o r my b la c k o f f e n s e .
T h a t I ta k e w h ite n e s s fro m h is in n o c e n c e .
PHEDIMA.
D a r iu s , r i s e ; h is p ra y e rs and lo v e 's to o s tr o n g ;
And I am to o k in d to be c r u e l lo n g .
DARIUS.
r e p e a t th o s e triu m p h s you h ave won;
180
185
190
195
K n e e ls .
200
205
Thus you
1 7 6 -1 8 5 . A p p e a r as 3 2 3 -3 3 2 i n
I I I . 3 i n Q l, Q 2, Q 4.
1 8 6 -2 0 6 . A p p ear as 3 4 0 -3 6 8 i n
I I I . 3 i n Q l, Q 2, Q 4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
48
Y o u r m ercy conquers as y o u r eyes have d o n e .
PHEDIMA.
B u t see you pay such h o n o rs to h is g r a v e .
As may d e s e rv e t h a t p a rd o n w h ich I g a v e .
DARIUS.
S in ce p ra y e rs n o r t e a r s c a n n o t h is f a t e r e c a l l ,
B u t so much v i r t u e by my hand m ust f a l l ;
T h is to h is d u s t is b u t a la w f u l; d e b t ,
Who s h in e d in g lo r y s h a l l in g lo r y s e t .
I w i l l e r e c t new tr o p h ie s to h is fam e.
W hat fro m h is l i f e I to o k . I ' l l pay h is name.
ORINDA,
My g r i e f w ith y o u r s , as r i v a l s , s h a ll c o n te n d ;
I have a lo v e r l o s t , you b u t a f r i e n d .
Scene F o u r.
[T h e Scene C o n tin u e s Q
E n te r P re x a s p e s and Mancfana.
PREXASPES.
Can you r e fu s e Cam byses' lo v e , who w ould
To p u rc h as e y o u rs wade to new crowns in b lo o d ?
'T is s tra n g e t h a t he c a n n o t y o u r h e a r t subdue,
To whom th e c o n q u e st o f th e w o rld i s d u e .
MANDANA.
Thy s o u l, and h i s , in t h i s w ere r i v a l s s t i l l ;
You n e v e r o verco m e, b u t when you k i l l .
210
215
To P hed im a.
E x e u n t.
:J5
PREXASPES.
B u t, Madam, w hat I re a d i n th e s e f a i r eyes
Has p o is o n i n i t . T h e r e 's so m eth in g i n t h a t fo rm
D is tu r b s my s o u l, and does my co u rag e s to rm .
Madam, y o u r b e a u ty . — Oh, tu r n i t aw ay. 10
S hould I on t h a t b r i g h t o b je c t lo n g e r s t a y ,
Lead by my w a n d e rin g f i r e s , I s h o u ld my senses q u it ;
And lo s e m y s e lf by g a z in g a f t e r i t . A s id e .
Madam - - C o n tin u in g , h is eyes f ix e d upon h e r .
2 0 7 -2 1 7 . A p p ear as 3 6 9 -3 7 9 in I I I . 3 i n Q l, Q2, Q 4.
Scene F o u r ] A l l e d s . o m it r e fe r e n c e to p la c e o f s e t t in g .
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49
MANDANA.
I s n o t y o u r message y e t exp ressed ?
PREXASPES.
Y o u r eyes w o n 't g iv e me le a v e to t e l l th e r e s t .
MANDANA.
I m ust c o n fe ss h is lo v e I w ould n o t h e a r;
D e a th 's fro w n s I c a n , h is s m ile s I c an n o t b e a r .
P re x a s p e s , name no more Cam byses' fla m e .
PREXASPES.
T h en , Madam, I may t e l l h im , in y o u r nam e, - -
I am h is r i v a l - -
H e r s u b tle d a r ts have made my h e a r t t h e i r p r i z e .
T h a t su re my s o u l's tr a n s p a r e n t, as my e y e s .
To l e t h e r im age i n . —
B u t t e l l me, can y o u r b r e a s t so c r u e l p ro v e
To b a n is h fro m y o u r h e a r t a l l th o u g h ts o f lo ve?
MANDANA.
Now, my O s i r i s , I remember th e e .
PREXASPES.
H e r a lt e r e d v is a g e w ears a m y s te ry .
A b ro k e n s ig h , jo in e d w ith a f a i n t i n g lo o k I
J u s t so my lo v e i t s sudden b i r t h f i r s t to o k .
H e r a c tio n s copy m in e; s u re my d is e a s e
In f e c t io u s i s , and does new s u b je c ts s e iz e .
F o r th e same s ig n s a rg u e th e same d e s ir e s ;
P erh ap s she f e e ls my p a in s , and m eets my f i r e s .
I f s o , th an ks to my s t a r s . S in ce n o b ly you
My h e a r t have won, so n o b ly u se i t to o .
W h at, s t a r t ? You t h in k i t is Cam byses.
MANDANA.
N o .
B o th y o u , and y o u r inhum an deeds I know.
C o u ld I b u t t h in k , t h a t lo v e c o u ld be a g u e s t
To th y b la c k s o u l, and h a rb o r in th y b r e a s t ;
The v e r y name o f lo v e ' tw o u ld o d io u s m ake.
15
20
A s id e .
To M andana.
A s id e . S ig h s .
A s id e .
30
35
40
PREXASPES.
You m ust seem c r u e l f o r y o u r h o n o r's s a k e .
No more o f t h i s .
MANDANA.
S tand o f f . Y o u r aim you m is s .
W h at, sto o p to him t h a t m urdered Am asis?
A d van cin g up to h e r .
45
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50
PREXASPES.
T h a t was Cambyses' f a u l t .
MANDANA.
No, s la v e , th y h and.
Thy hand d id a c t w hat he d id b u t command.
PREXASPES.
B u t h is command d id to y o u r l i f e e x te n d .
W hich I d id fro m h is c r u e lt y d e fe n d ;
And 'tw a s my fa v o r t h a t you d id n o t d ie .
MANDANA.
N o, b a rb a ro u s v i l l a i n , ' twas y o u r c r u e lt y .
You s a c re d powers ab o ve, w hat was my g u i l t .
T h a t w ith my f a t h e r 's b lo o d m ine was n o t s p ilt ?
My d e a th h e a v e n 's f a t a l kin d n es s d id p re v e n t;
R e s e rv in g me f o r g r e a t e r p u n ish m en t.
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55
PREXASPES.
W h at, can i t be a punishm ent to r e s t
I n th e p r o te c tio n o f P re x a s p e s ' b re a s t?
I t can n o t b e , M andana. Come, I see 60
Y o u 'v e le a rn e d th e fe m a le f l i g h t s o f m odesty.
Moves tow ard M andana, p r o f f e r s to k is s
h e r hand; she moves away fro m h im .
W h at, a r e t r e a t ?
As ' t i s in n a tu r e 's la w s , so ' t i s in lo v e ;
The e f f e c t s th e same i f th e e a r th o r sun do m ove.
And so o u r lo v e th e same e f f e c t p ro c u re s , 65
I f y o u r h e a r t move tow ards m in e, o r m ine tow ards y o u rs .
Come th e n . R u d ely s te p p in g to h e r .
MANDANA.
T h is la n g u a g e , S i r , I can n o t h e a r;
I can my d e a th , n o t th y ad d resses b e a r .
To th e e , M andana' s b r e a s t th u s k in d can p ro v e , 70
To e n t e r t a in th y sw ord, b u t n o t th y lo v e .
W h at, a re you s lo w , and do you s lu g g is h s ta n d .
When b e lo v e d m urder does i n v i t e y o u r hand?
PREXASPES.
C a p tiv e , ta k e heed l e s t you p ro vo ke my h a te .
'T is b u t i l l p o lic y to tem p t y o u r f a t e . 75
You t r u s t my lo v e , and th e r e fo r e you presum e,
B u t, Madam, know y o u r sco rn has changed y o u r doom.
Nought b u t y o u r lo v e y o u r r u in s h a ll r e c a l l ;
F o r th e y who once fro m h ig h fa v o r f a l l
N e v er le a v e s in k in g , t i l l th e y re a c h t h e i r g ra v e s . 80
5 9 . o f P re x a s p e s ' b r e a s t? ] o f a P re x a s p e s ' s b r e a s t , Q l, Q4.
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51
MANDANA.
'T w lx t lo v e and ra g e , l i k e m e e tin g t id e s , he r a v e s . A s id e .
T h a t d e a th he th re a te n s g la d ly I ' d obey;
T h a t l i f e I owe to A m asis, I ' d p a y .
Y e t Amasis - - 85
Do b u t t h is f a u l t ( i f i t be one) f o r g iv e ,
I f f o r O s ir is I c o u ld w ish to l i v e .
E n te r Cambyses, who m eets P rexasp es g o in g o f f .
CAMBYSES.
P re x a s p e s , is Mandana y e t more kin d ?
PREXASPES.
I c an n o t m eet h e r in so good a m in d .
CAMBYSES.
S in ce my l a t e fro w n s and th r e a te n in g s c o u ld n o t move To Mandana.
Y o u r b r e a s t . I ' l l t r e a t you w ith a m ild e r lo v e . 90
PREXASPES.
She th in k s
I'm some tame lo v e r o f th e common s o r t
Whom th e y use c r u e lly to make them s p o r t.
N o, she s h a ll f in d my lo v e does h ig h e r f l y ;
I ' l l e it h e r te a c h h e r how to lo v e , o r d i e .
CAMBYSES.
I , o f my frow ns a n o b le r use sh ould m ake.
To awe th e tre m b lin g w o rld , make em p ires q u ake.
And check h e a v e n 's th u n d e r. 'T is n o t f i t my b ro w .
The t e r r o r o f th e w o rld , s h o u ld th r e a te n y o u .
N o, you s h a ll f in d Cambyses, f o r y o u r s a k e .
As m ild as lo v e 's s o f t charms can m ake.
MANDANA.
Cambyses, n o . R age, and be c r u e l s t i l l ;
T y ra n ts a re o n ly k in d , th e n , when th e y k i l l .
My d e a th 's th e o n ly k in d n es s you can do;
My l i f e I h a te , s in c e ' t i s p re s e rv e d by y o u ,
CAMBYSES.
H o ld . Y o u 're u n g r a t e f u l. Though y o u 'v e c r u e l b e e n .
T h u s, th u s Cambyses w i l l y o u r fa v o r w in .
You s h a ll e n jo y O s ir is — Do n o t s t a r t ;
'T is he a lo n e t h a t lo d g es i n y o u r h e a r t .
To w in y o u r fa v o r t h is b ra v e deed I ' l l do;
Be c r u e l to m y s e lf, and k in d to y o u .
A s id e .
E x i t .
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105
110
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Fame s h a l l no lo n g e r to th e w o rld im p a r t
T h a t I w an t pow er to w in a la d y 's h e a r t .
F o r s in c e a l l o th e r means s u c c e s s le s s p ro v e ,
To g a in y o u r k in d n e s s . I ' l l r e s ig n my lo v e .
I to my r i v a l w i l l w ith h o n o r y i e l d ;
O s i r i s , Madam, is f o r you d e c re e d .
He is - - I , and th e g o d s, have so a g re e d .
MANDANA.
O h, now I f e a r - -
115
120
130
CAMBYSES.
Now, f o r h is arms p r e p a r e .
Draw b a c k t h a t c u r t a in . The scene o p en s; on a t a b le a p p ea rs th e
body o f O s i r i s , b e h e a d e d , and an E x e c u tio n e r
w it h th e supposed head i n a v e s s e l o f b lo o d .
T ake y o u r lo v e r — t h e r e .
S in c e you a l l le s s e r o f f e r in g s d e s p is e .
Take t h e r e , ta k e th e r e y o u r b e a u t y 's s a c r i f i c e . 125
MANDANA.
O s ir is m u rd e re d ! And can h eaven be
An i d l e g a z e r on h is d e s tin y ?
Gods, can you s u f f e r t h i s ; and y e t la y c a lim
To t h i s lo w e r w o rld ? Or i s y o u r th u n d e r tame
To l e t th e t y r a n t liv e ? A re n o t you a f r a i d .
Who h e re b e lo w a l l v i r t u e has b e tr a y e d .
When t h e r e 's none l e f t on e a r t h he may p u rs u e .
The n e x t b lo w he in te n d s w i l l be a t you?
O h, n o , t h is s tr o k e by y o u r c o n s e n t was g iv e n ,
To ro b th e w o r ld , to add new s t a r s to h e a v e n .
Oh t y r a n t - - t y r a n t i s a name to o good
F o r him whose s o u l's so d e e p ly s ta in e d i n b lo o d .
Inhum an m u rd e re r, had you le a r n e d th e sense
O f v i r t u e fro m O s i r i s ' in n o c e n c e ,
O r b o rro w ed so much b lu s h e s fro m h is b lo o d .
You had n o t ro b b ed th e w o rld o f a l l t h a t 's good.
B u t, S i r , I hope you d o n 't t h i s v i r t u e w a n t. L o w e rin g h e r v o ic e .
B u t w h at y o u 'r e p le a s e d to p ro m ise you w i l l g r a n t .
You p ro m ised t h a t Mandana s h o u ld t h i s day
E n jo y O s i r i s . 145
W eeps.
140
CAMBYSES.
A y , and so you m ay.
MANDANA.
T y r a n t , why th e n does n o t Mandana f a l l .
To m ix h e r b lo o d w it h h is ?
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CAMBYSES.
Madam, you s h a l l .
U n le s s you i n s t a n t l y r e s o lv e to p ro v e
M ore j u s t to th e g r e a t P e r s ia n m o n a rc h 's lo v e .
MANDANA.
I w i l l do more th a n lo v e , l e t b u t y o u r b r e a t h
P ronounce my f a t e . I ' l l th a n k yo u f o r my d e a th ;
And I ' l l em brace i t to o as y o u r k in d g i f t .
And th e o n ly h a p p in e s s on e a r t h — t h a t ' s l e f t .
Come, i n my d e a th l e t me y o u r f a v o r f i n d ;
W h a t, m ust Mandana c o u r t you to be k in d ?
I do c o n ju r e y o u s t r i k e , by a l l y o u r g u i l t .
Y o u r c r u e l t i e s , th e b lo o d y o u r ra g e has s p i l t ;
By a l l t h a t s a c re d d e b t o f lo v e I owe
O s i r i s , n a y , and m o re , my h a te to y o u .
W h a t, a r e th e f u r i e s v a n is h e d fro m y o u r so u l?
W hat sudden tam eness does y o u r arm c o n tr o l?
O r i s y o u r f ie r c e n e s s c a lm e d , y o u r ra g e subdued.
S t i f l e d w it h m u rd e rs , and o v e r - c lo y e d w it h b lo o d ?
My v ir t u e s a re n o t r i p e enough to a f f o r d
A s u b je c t f o r a b lo o d y t y r a n t 's s w o rd .
CAMBYSES.
S in c e d e a th w o u ld such a s ig n a l fa v o r b e .
You s h a l l w a it lo n g e r f o r y o u r d e s t in y .
M onarchs s h o u ld n o t t h e i r fa v o r s r a s h ly p la c e .
B u t - -
C o n s id e r b e fo r e th e y pass t h e i r a c ts o f g r a c e .
N o , you s h a l l l i v e , and l i v e t i l l y o u h ave known
The in f lu e n c e o f an a n g ry m o n a rc h 's fro w n .
Y o u r t e a r s s h a l l o th e r w is e be em p lo yed to m ourn
T h a t y o ir p r id e d a re d Cam byses' f a v o r s c o rn .
MANDANA.
I d a re n o t lo o k (my s o u l's so much am azed)
Inhere I b e fo r e f o r e v e r c o u ld h ave g a z e d .
O h, t h a t I c o u ld b u t weep away my s ig h t .
To s h a re w it h th e e in an e t e r n a l n i g h t l
O r , t h a t I c o u ld b u t m e lt i n t e a r s a w ay.
T h a t when o u r r i s i n g sun p r o c la im s th e d a y .
W ith m o rn in g dew I b y h is ra y s m ig h t be
E x h a le d , and s n a tc h e d up to h is h e av e n and th e e .
150
W eeps.
R a is in g h e r v o i c e .
160
165
W eeps.
170
E x i t .
180
E x i t .
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A c t F o u r. Scene O ne.
The scene o p en s; Cambyses i s d is c o v e re d s e a te d in a c h a i r .
s le e p in g . The scene re p re s e n ts a s te e p r o c k , above w h ich
descends a la r g e c lo u d w h ich opens to r e v e a l v a r io u s shapes
o f S p i r it s s e a te d i n a c o u n c il; a m ore g lo r io u s S p i r i t
s e a te d on a th r o n e , descends to them h a lfw a y , a f t e r w h ich
th e fo rm e r S p i r i t s r i s e and d a n c e . I n th e m id d le o f th e
d a n c e , a woman a p p e a rs w it h a d a g g e r i n h e r h a n d ,
and th e scene c lo s e s . In th e c o u rs e o f t h i s s c e n e ,
t h i s song i s sung fro m w it h in as i f by th e S p i r i t s .
[s o n g . 3
You s u b tle pow ers t h a t r u le b e lo w ,
O n ly w here h o r r o r d w e lls ,
Whose deep d a rk c e l l s
A d m it no o t h e r l i g h t .
Then t h a t by w h ich you m o r ta l f a t e s do w r i t e , 5
The e v e n ts o f a l l y o u r know ledge does fo re k n o w .
The P r in c e o f F a t e 's a lr e a d y s e t .
T h a t P r in c e who does i n c o n s t e lla t io n s w r it e
Those g lo r io u s c h a r a c te r s o f l i g h t .
The d e s t in ie s o f a l l t h a t 's g r e a t . 10
C h o ru s ;
To c o u n c il, th e n , to c o u n c il s t r a i g h t ,
W ith a l l y o u r m in is t e r s o f s t a t e .
To a tte n d th e h ig h d e c re e s o f f a t e .
Cambyses r is e s fro m h is c h a i r .
as n e w ly w a k in g , and seems d is o r d e r e d .
CAMBYSES.
A f a t a l d a g g e r, and a woman's hand I .
E n te r P re x a s p e s .
PREXASPES.
T h is n ig h t , g r e a t S i r , y o u r p re s e n c e does dem and. 15
'T is now th e a p p o in te d h o u r, y o u r fo r c e s w a it
To g a in a d m is s io n a t th e W e s te rn g a t e .
S i r , you f o r g e t y o u r s e lf ; one m om ent's s ta y
H a za rd s y o u r c ro w n , and lo s e s you th e d a y .
CAMBYSES.
T e l l me no more o f h a z a r d s , n o r o f c ro w n s . 20
Cambyses th r e a te n e d b y a wom an's fro w n s I
PREXASPES.
Remember, S i r , y o u r h o n o r ' t i s does c a l l .
Y o u r e m p ir e 's s a f e t y , and th e im p o s to r 's f a l l .
I Song . 3 A p p ears i n d o u b le colum ns in Q 4._______________________________________
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55
And n o w 's th e tim e .
To w a it on triu m p h ?
CAMBYSES.
I w i l l n o t g o .
W h at, can you ta r d y be
L e t triu m p h w a it on me,
25
PREXASPES.
N o t go I W hat p o w e rfu l cause
Can fo r c e y o u r co u rag e to r e t r e a t , o r p ause I
O r can you le is u r e f o r d e b a te a f f o r d ,
When c o n q u e s t, and re v e n g e , i n v it e s y o u r sword?
CAMBYSES.
N o , I s h a l l m e et my f a t e ; b u t th a n k s to H eaven ,
My f r ie n d s above have tim e ly n o t ic e g iv e n .
PREXASPES.
H a l M e e t h is f a t e I He dream s o f tre a s o n to o ;
Some cerem o n io u s god has t o ld him s o .
Can yo u f e a r d a n g e rs , o r can d a n g e rs be
An e n v io u s c lo u d ' t w i x t you and v ic t o r y ?
O r i s th e pow er o f H eaven so d r e a d f u l grown
T h a t f e a r in g t h a t , you can f o r g e t y o u r own?
N o, S i r , yo u m ust t h i s g lo r io u s deed f u l f i l l ;
L e t gods be g o d s , you a re Cambyses s t i l l .
S in c e you a re ; w it h p r o p h e tic th o u g h ts , p o s se s se d ;
W hat m y s tic f e a r s have th u s in s c r ib e d y o u r b re a s t?
30
A s id e .
40
S ee in g Cambyses
make no a n s w e r.
he p ro c e e d s .
^ CAMBYSES.
I My la b o r in g fa n c y le d me to th e brow
I O f a s te e p r o c k , t h a t shaded a l l b e lo w ;
From t h e r e I saw a lo w -h u n g c lo u d a p p e a r.
S w o lle n b ig w it h m is ts and lo a d e d w it h th e a i r ;
W hich w it h en g en d e re d te m p e sts seemed to r o a r .
R e e le d , s u n k , and s ta g g e re d w it h th e w e ig h t i t b o r e .
A num erous is s u e fro m i t s b o w els f le w .
W h ils t th e c lo u d b ro k e and m e lte d to a dew
I n w h ich th e w an to n s p i r i t s b a th e d and p la y e d ,
And g r e e d ily upon t h e i r m o th e r p re y e d .
Then fro m above - -
I saw th e P r in c e o f F a te s h is arm d is p la y ;
L ig h tn in g and th u n d e r u s h e re d in h is w ay.
H is s c e p te r m oved, bowed h is im p e r ia l h e ad ;
The lo w e r f a t e s w it h re v e re n c e o b e ye d .
T h e ir volum es i n s t a n t l y w ere b ro u g h t, and h e .
O pening th e f a t a l le g e n d , p itc h e d on m e.
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3 5 . c e re m o n io u s ] s u p e r s t it io u s ,
Ql, Q2. Q4.______________ :
4 6 . t h e r e ] th e n c e , a l l eds,
3 5 . A s id e in Q l, Q 2.
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56
T h e n , in th e C o u n c il, a :d is p u te d id grow .
W h e th e r Cambyses m o r ta l w e re , o r n o .
B u t th e y i n v a in t h e i r argum ents d id b r in g .
The P r in c e o f F a te s s a id N o , I was a K in g .
S t r a ig h t i n th e m id s t I saw a woman s ta n d .
G ra s p in g a b lo o d y d a g g e r i n h e r h a n d .
She by h e r lo o k s t h e i r s e n te n c e d id condemn.
And b y h e r p o s tu re th r e a te n e d me, and them .
T h e n , as I w aked, m e th o u g h t, I saw th e d a r t
S n atch ed fro m h e r hand and l e v e l le d a t my h e a r t .
PREXASPES.
And can a dream Cam byses' s p i r i t s d a u n t.
R id d le s as d a rk as a re th e n ig h ts th e y h a u n t.
Y o u r g ro u n d le s s je a lo u s ie s u n ju s t a p p e a r;
Thus g r e a t e s t v a lo r s s m a lle s t d an g ers f e a r .
As lio n s tre m b le a t a s p a rk o f f i r e .
S h a ll i t be s a id Cambyses d id r e t i r e
O r s h r in k fro m t h a t b ra v e cause he s h o u ld m a in ta in ?
Dreams a r e b u t th e unshaped m o n sters o f th e b r a in .
And m o n s t e r - lik e s h o u ld o n ly be a b h o rre d ;
No more d e la y s , you m ust em ploy y o u r sw o rd .
CAMBYSES.
U rg e me no m o re.
S h o u ld I to Susa g o , f a t e has d e s ig n e d
I fro m a wom an's hand my d e a th s h o u ld f i n d .
A re th e s e y o u r s tra ta g e m s ? You had f o r g o t
To keep y o u r p r o je c t s c lo s e ; I ' l l s p o il y o u r p l o t .
My pow er has o v e r t h e i r p o lic y th e s e ,o d d s ;
I ' l l s ta y a t home, and d is a p p o in t th e g o d s .
I ' l l b a f f l e t h e i r d i v i n i t y . And s in c e
They h ave r e s o lv e d i t . I ' l l my s ta r s c o n v in c e .
T h e ir b o rro w ed in flu e n c e common f a t e s may sway;
Cambyses has g r e a t e r pow er th a n th e y .
S ta rs a r e l i k e g a lle y - s la v e s , c h a in e d to a s p h e re .
And s u b j e c t - l i k e o n ly h e a v e n 's v a s s a ls a r e .
To move by la w s , a c t w hat th e h ig h e r pow er d e c re e s .
I can move w here I w i l l , a c t w h at I p le a s e .
Cambyses r u le s Cam byses' d e s t in y .
N o r am I ta u g h t how to obey o r d i e .
P re x a s p e s , see M andana h i t h e r b ro u g h t;
I ' l l b y my lo v e d i v e r t t h is s u lle n th o u g h t.
PREXASPES.
And m ust a dream h is s a n c tu a ry b e .
P r o te c te d by t h i s r i d d l i n g p rophecy?
65
:7 0
75
80
85
90
95
A s id e .
7 8 . b r a i n . ] b r a in ? , Q 4.
8 3 . s h o u ld ] s h a l l . Q 4.
8 8 . t h e i r J y o u r , Q l, Q2, Q4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
No, though h is s ta y has my d esig n s o v e rth ro w n ;
I ' l l ta k e h is l i f e , though I expose my own.
CAMBYSES.
Though th e y have thus f o r e t o ld my d e s t in y .
Perhaps my s ta r s have dreamed as w e ll as I .
Prexaspes e n te rs w ith Mandana, and e x i t s .
Mandana, y o u 'v e my r e s o lu t io n h e a rd .
The c h o ic e is eas y ; sp eak. A re you p re p a re d
To be my m is tr e s s , o r my s a c r if ic e ?
MANDANA.
When ' t i s y o u r r o y a l p le a s u r e , S ir , she d ie s .
CAMBYSES.
N o, h o , I w i l l a m ild e r sen ten ce g iv e ;
I t i s my r o y a l p le a s u re you sh o u ld l i v e .
And l i v e in my embraces to o .
MANDANA.
In h is - -
In h is embrace t h a t m urdered A m asisI
And m ore, t h a t b lo o d y t y r a n t t h a t d ecreed
O s i r i s ' c r u e l f a t e ; th a t b a rb aro u s deed,
A deed enough to i n f e c t th e b re a th o f fam e.
A t w hich y o u r le s s e r tre a s o n s lo s e t h e i r nam e.
CAMBYSES.
And am I d a l li e d w ith ? Y our doom i s s e a le d .
Cambyses' sen ten ce can n o t be re p e a le d .
P re p a re to lo v e o r d ie ; choose, and be f r e e .
My speedy k in d n e s s , o r my c r u e lt y .
MANDANA.
Y our c r u e lt y my courage can n o t b e a r ,
Mandana th e n w i l l in y o u r k in d n ess s h a re .
I b lu s h to say I o f f e r up my h e a r t .
B u t y e t ob ed ien ce is a c a p t iv e 's h e a r t .
CAMBYSES.
W elcome, k in d p r in c e s s . A l l th e powers above
S h a ll envy a t y o u r k in d n e s s , and my lo v e .
I f th e re be any powers above my own.
F o r th e y t h a t c a l l th em selves th e gods have n o n e.
F o r i f th e y had - -
They had n o t to m ankind t h is fa v o r g iv e n ,
To e n jo y a b le s s in g g r e a t e r th a n t h e i r h e a v e n .
57
Exit.
105
110
115
120
125
P a s s io n a te ly .
130
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58
We P r in c e s to o u rs e lv e s o u r g re a tn e s s owe;
They a r e b u t k in g s a b o v e , we gods b e lo w .
Now yo u a r e k in d ,
MANDANA.
And w h at a r e n o t yo u so?
CAMBYSES.
Can yo u my k in d n e s s d o u b t? N o, you s h a l l f in d
'T is you a lo n e h ave ta u g h t me to be k in d .
W ith th e n e x t su n , yo u s h a l l y o u r r e ig n b e g in ;
Tom orrow yo u s h a l l be p ro c la im e d my Q ueen.
MANDANA.
N o , S i r , t h a t i s n o t a l l —
CAMBYSES.
Oh, ' t i s n o t a l l .
H e r lo v e does f o r a s t r i c t e r k in d n e s s c a l l .
The n ig h t , th e n i g h t , lo v e 's c h ie f triu m p h a n t h o u r.
When b lu s h e s o v e r o u r p le a s u r e s have no p o w er;
When lo v e r s r e v e l in each o t h e r 's a rm s .
C o n fin in g to one c i r c l e a l l t h e i r charm s
To an e m b rac e . T h is to y o u r b e a u t y 's d u e ;
F i r s t , I w i l l crow n o u r lo v e s , and th e n crow n y o u .
135
140
145
150
MANDANA.
Oh, n o . S i r , t h i s is b u t a b a r r e n g r a n t ;
I s t i l l th e c to w n in g o f my w ish e s w a n t.
The f a v o r I w o u ld h a v e , is t h i s - - to d i e .
T y r a n t , y o u r lo v e 's th e g r e a t e s t c r u e l t y .
Cam byses, n o , you do m is ta k e my p a r t ;
'T i s th u s a lo n e I ' l l o f f e r up my h e a r t .
N o t to y o u r l u s t , b u t f u r y 's s a c r i f i c e .
Command my d e a th ; th e n , th o u g h y o u r sword d e n ie s .
On e a r t h , t h a t e m p ire w h ic h my b i r t h had g iv e n ,
M andana w i l l commence h e r r e ig n in h eaven
W ith my O s i r i s , i n t h a t g lo r io u s s e a t
W here c r u e l t y and t y r a n t s n e v e r m e e t.
R a is in g h e r v o i c e .
155
160
CAMBYSES.
How, c a p t iv e , am I s c o rn e d , and s c o rn e d b y you?
To show w h a t in ju r e d m a je s ty c a n ..d o .
Y o u r d e a th to t h i s d is p u te an end s h a l l b r in g 165
I ' l l a c t no m ore y o u r lo v e r , b u t y o u r K in g .
Y o u r b e a u ty s h a l l no m ore my arm c o n t r o l.
I ' l l f in d a n o b le r passag e to y o u r s o u l. P r o f f e r s to draw h is
sw ord to k i l l h e r .
1 4 4 . H e r lo v e ] O ur lo v e , Q l. Q 2, Q 4.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
MANDANA.
Cam byses, h o ld l Gome, I w i l l m ild e r b e ;
My k in d n e s s s h a ll p r e v e n t y o u r c r u e l t y .
CAMBYSES.
Then use me th u s no m o re, and you s h a l l know
W hat h eaven and m onarchs when t h e y 'r e p le a s e d can d o .
MANDANA.
Y o u r sword f o r i n o b le r a c tio n s i s d e s ig n e d ;
To yo u th e n , and m y s e lf I ' l l now be k in d .
I ' l l ro b you o f my d e a th .
Cam byses, n o .
Y o u r sw o rd . S i r , s h a l l n o t condescend so low
To be a woman' s e x e c u t io n e r .
My hand a lo n e t h a t g u i l t y s t a in s h a l l b e a r .
R a th e r th a n l e t a k in g t h a t g u i l t c o n t r a c t ,
Mandana h e r own m u r d e r e r 's p a r t w i l l a c t .
I n d y in g th u s h e r k in d n e s s w i l l be shown.
S h e ' l l save y o u r h o n o r, and d e fe n d h e r own.
N o w ity r a n t , d a re to v i o l a t e h e r fam e.
To s t a in h e r v i r t u e , o r to fo r c e h e r shame;
T h is , t h i s , s h a l l g u a rd h e r fro m y o u r i n j u r i e s .
59
K indly,
Draws h is d a g g e r.
R a is e s h e r v o ic e .
180
P o in ts d ag g er
F o r when h e r h o n o r you a tte m p t, she d ie s . to h e r own b r e a s t .
E n te r P re x a s p e s .
PREXASPES.
Welcome t h is happy o p p o r tu n it y .
M andana, h o ld , you ro b th e w o r ld , and me.
And to my g ra c io u s s o v e re ig n I b r in g
T h is p r e s e n t as a s u b je c t 's o f f e r i n g .
A d v a n cin g to Cam byses, as i f he
p la n n e d to p r e s e n t h im th e d a g g e r.
Y o u r d e a th , p ro u d t y r a n t - - D ie , Cam byses, d i e . S tab s h im .
A s id e .
Runs to h e r and
s n a tc h e s th e d a g g e r.
S tr u g g le s , b u t s in k s in t o h is c h a i r .
CAMBYSES.
And b y P re x a s p e s ' hand I
PREXASPES.
Y e s , S i r , ' t i s I .
MANDANA.
Oh, m u rd e re r I H e lp ! G uards I 195
PREXASPES.
T h a t w i l l n o t d o .
Madam, th e g u ard s a re s a f e , and so a r e y o u .
1 7 5 . Draws h is d a g g e r^ Draws h e r d a g g e r, Q l, Q 2, Q4,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
60
CAMBYSES.
U n g r a te fu l t r a i t o r , m ust my g lo r y be
U n r a v e lle d by so base a s la v e as thee?
D id I f o r t h is my fa v o rs th u s d is p e n s e ,
And g iv e you b e in g by my in flu e n c e ?
PREXASPES.
A y , S i r , and 'tw a s fro m you I u n d e rs to o d
T h is d e x te ro u s way o f l e t t i n g m o n arch 's b lo o d .
CAMBYSES.
O h, t h a t I c o u ld b u t so much power r e c a l l .
As b u t to r i s e , and c ru s h you in my f a l l .
O r b o rro w so much k in d n e s s fro m my b lo o d .
To s w e ll so h ig h to drown you in a f lo o d .
O h, had I: so much p o is o n in ray b r e a t h .
A t once b o th to p ro n o u n ce, and g iv e you d e a th .
I w ould re v e n g e my wrongs - - b u t ' t i s to o l a t e .
And heaven i t s e l f is a c o n fe d e r a te .
I do f o r g e t 'tw a s by y o u r w i l l s d e c re e d ,
I by t h a t d a g g e r, and t h a t hand s h o u ld b le e d .
B u t s in c e , you g o d s, you d id my f a t e p r o c la im .
And r a v is h e d fro m me b o th my l i f e , and fam e.
To l e t me ta m e ly f a l l ; you may p u rsu e
T h a t j u s t re ve n g e w h ich is to m urder d u e .
B u t i f you f a i l to r i g h t my w ro n g s, and me.
May you w ant te m p le s , a l t a r s , fla m e s , and be
From homage and fro m s a c r i f i c e d e b a rre d ;
And t h a t w h ich makes you gods, , bè m e v e r fe a r e d .
My p a s s io n w ith my b lo o d now m ild e r flo w s ;
Y o u r d y in g P rin c e f o r y o u r l a s t pardon s u es .
Now a l l y o u r s co rn and c r u e lt y m ust c e a s e ,
200
T r ie s to r i s e ,
b u t c a n n o t.
210
215
220
To M andana.
L o w e rin g h is v o ic e .
D e a th , t h a t d is arm s my lo v e , co n clu d es i t s p e a c e . He d ie s .
MANDANA.
H is u n ju s t f a t e has o v e r my wrongs p r e v a ile d ;
F a r e w e ll, dead P r in c e , d e a th has y o u r p ard o n s e a le d .
Though you w ere w ic k e d , y e t you w ere a K in g .
B u t, t r a i t o r , whence d id y o u r b la c k f u r y s p r in g . To P re x a s p e s .
Who in y o u r P r in c e 's b lo o d y o u r hands im brue ? 230
PREXASPES.
Madam, h is d e a th m ust c o p ied be by y o u .
Now is th e tim e , proud g i r l , in w hich I ' l l p ro ve
The j u s t re v e n g e r o f my in ju r e d lo v e .
S in ce you a g r e a t e r t y r a n t a r e th a n h e ,
'T is j u s t t h a t you s h o u ld s h are h is d e s t in y .
H o ld in g th e
d ag g er tow ards
h e r b r e a s t .
235
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61
E n te r O ta n e s , D a r iu s , and A r ta b a n .
OTANES.
'T i s some s tra n g e cause o u r K in g th u s lo n g has s ta y e d .
PREXASPES.
R e tu rn e d so su d d en ly'. H a l I'm b e tr a y e d .
Y e t my re ve n g e I ' l l e n d . Goes to s ta b M andana.
DARIUS.
P re x a s p e s , h o ld l S ta ys h im .
W hat unshaped f u r y makes y o u r arm th u s b o ld ? 240
PREXASPES.
The K in g , th e K in g - -
DARIUS, OTANES, and ARTABAN.
S p eak, w hat?
PREXASPES.
T h e re m urdered l i e s .
O h, f a t a l b lo w b o th to o u r h e a r ts and h is I W eeps.
DARIUS and OTANES.
Cambyses m u rd e re d ! 245
PREXASPES.
Oh, inhum an d e ed .
F o r w h ich a l l P e r s ia , w ith o u r K in g , does b le e d ! W eeps.
See h e re th e f a t a l d a g g e r, and see th e r e
M an d an a's h a n d , Cam byses' m u rd e re r. Weeps a g a in .
O h, h o r r o r ! E n v io u s h e av e n !
DARIUS.
M an d an a's hand
I n o u r g r e a t m o n a rch 's b lo o d y m u rd er s ta in e d !
MANDANA.
P e r f id io u s l i a r , m ust my in n o c en c e
Be th u s a b u se d , and made th y c r im e 's d e fe n s e ?
Ye gods! 255
PREXASPES.
W hat does she m ean!
The d is m a l h o r r o r o f a deed so f o u l ,
Has r a is e d so b la c k a c lo u d o v e r h e r s o u l;
T h a t she fo r g e ts th e r o y a l b lo o d she s p i l t .
S t i f l e d and s t u p i f i e d w it h h e r own g u i l t . 260
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
What fu r y made you t h is b la c k deed p u rs u e .
A g a in s t him t h a t had no f a u l t — b u t lo v in g you?
How c o u ld yo u r hand - -
MANDANA.
How co u ld yo u r impudence
Accuse Mandana o f yo u r own o ffe n s e ?
D id n o t yo u r hand, y o u r hand, proud t r a i t o r , f iv e
T h a t wound he from no o th e r c o u ld re c e iv e ?
None b u t y o u r hand t h a t cu rsed deed d ared do
To shake a l l P e rs ia a t one f a t a l b lo w .
OTANES.
H al T h is s tra n g e p a r le y and d is p u te does b reed
More wonder th a n th e s tra n g en e s s o f th e d eed .
P re x a s p e s , l e t the s to r y th e n be t o ld .
T h a t may t h is c r u e l m ystery u n fo ld .
PREXASPES.
Know th e n , my lo r d s , e n te r in g t h is f a t a l p la c e ,
I saw d is t r a c t io n p a in te d in a fa c e
'T w ix t g u i l t and h o r r o r ; as I n e a re r d rew .
By t h is f a i n t l i g h t I s t r a ig h t Mandana knew.
I saw h e r in a tre m b lin g p o s tu re s ta n d .
G rasp in g t h is b lo o d y dagger in h e r hand.
'Twas th e n , 'tw a s th e n my eyes th e n ig h t a b h o rre d .
The n ig h t w hich d id h e r g u i l t shades a f f o r d
To t h a t b la c k d eed , a t w hich o u r r is in g sun
M ust b lu s h to see w hat h e r b o ld hand has done.
Then from h e r hand I s t r a ig h t th e dag g er s n atch e d .
And soon a speedy ju s t ic e had d is p a tc h e d ;
B ut t h a t y o u r e n tra n c e d id my arm r e s t r a i n .
And s ta y my z e a l to my dead s o v e re ig n .
E ls e I had p e rfo rm e d th e second t r a g ic p a r t .
R ig h tin g h is wrongs upon h is m u rd e re r's h e a r t .
MANDANA.
Oh, p e r ju re d s la v e I D are you tem p t h e av e n , and know
The gods and j u s t i c e have a power below?
Thus to o u t-fa c e t h e i r vengeance?
PREXASPES.
H al Was t h is m urder th e n a b a s ta rd g u i l t .
To f a t h e r thus on me t h a t b lo o d she s p ilt ?
B ut I f o r g e t , th e y who d a re k i l l t h e i r K in g ,
W ant n o t th e fa c e to d a re say a n y th in g .
W e ll, s in c e I m ust my lo y a lt y d is p u te .
L e t t h i s , my lo r d s , a l l je a lo u s ie s c o n fu te .
2 9 8 . a l l je a lo u s ie s c o n fu te .T a l l je a lo u s ie s c o n fu te ? , Q l.
62
To M andana.
Weeps.
265
270
275
280
W eeps.
285
W eeps.
290
295
Shows them
th e d a g g e r.
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63
DARIUS.
M andana's d a g g e r! Oh, p ro d ig io u s f a t e !
OTANES.
The s acred r e l i e o f th e E g y p tia n s t a t e ,
Worn by s u cc e ss io n from t h e i r k in g s o f o ld
O f w hich t h e i r p r ie s t s a wonderous r is e have t o ld .
W hich t h e i r r e lig io u s leg en d s do p re te n d
God Ammon d id to t h e i r f i r s t monarch send.
W hich s in c e has by h is h e ir s been k e p t to be
A badge o f th e E g y p tia n m a je s ty .
PREXASPES.
What caused h e r rag e is p l a in l y u n d e rs to o d .
The deep re se n tm e n ts o f h e r f a t h e r 's b lo o d .
H er s la v e r y , and h e r l o s t ctow n; and m ore.
The h a te she to Cambyses' p a s s io n b o re .
DARIUS.
Mandana - -
Oh, ye gods, t h a t men sh o u ld be
So much m is ta k e n i n d i v i n i t y !
Who co u ld have th o u g h t t h a t she, who is adorned
W ith d iv in e b e a u ty , has a s o u l deform ed?
OTANES,
G uard s, th e re w it h in .
Oh, Madam, have you so i l l u n d e rsto o d
The t i e s o f m a je s ty , and y o u r h ig h blood?
To shed h is b lo o d , and thus p ro fa n e yo u r own.
Remembering you w ere b o rn u n to a th r o n e .
E n te r G uard s.
B ut now fo r g iv e me. Madam, t h a t I must
To o u r dead K in g , and to o u r la w s , be j u s t .
Im p u te my r ig o r to my l o y a l t y .
T h a t fo rc e s me to t e l l yo u , you m ust d ie .
MANDANA.
To show how g la d ly I a c c e p t t h a t b r e a th .
I ' l l ro b you o f th e s en ten ce o f my d e a th .
G uard s, I'm y o u r p r is o n e r . Conduct me s t r a ig h t .
T h ere where Mandana may embrace h e r f a t e .
D eath is th e o n ly h ap p in ess I c o u r t.
PREXASPES.
The p lo t was w e ll th e n , s in c e she lik e s th e s p o r t.
300
305
310
315
320
325
A s id e .
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64
MANDANA.
O s i r i s , now f a t e has t h is fa v o r g iv e n ,
To l e t me d ie , to v i s i t yo u , and h e av e n .
Y e t though th e name o f d e a th has made me p ro u d .
When I am dead may heaven remove th e c lo u d ;
And may my b e t t e r s ta r s r e s to r e my fame
To i t s f i r s t w h ite n e s s , t h a t my in ju r e d name
May grow u n s u llie d , as my in n o c e n c e .
DARIUS.
And may k in d heaven f o r g iv e you y o u r o ff e n s e .
The m ild n e s s . Madam, o f yo u r d e a th s h a ll show
W hat p i t y we to such p e r fe c t io n s owe.
C onduct h e r s a f e ly th e re where she may be
D e b a rre d fro m n o th in g e ls e b u t l i b e r t y ;
U n t i l h e r d e a th yo u r o f f ic e s h a ll d is c h a rg e .
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To th e G u a rd s .
MANDANA.
U n t i l h e r d e a th s h a ll h e r fr e e d s o u l e n la r g e .
I come, O s i r i s , and may some k in d s t a r , 345
T h a t s m ile s on lo v e r s , g u id e me to y o u r s p h e re .
T h e re o u r d iv id e d s o u ls s h a ll m e e t, and be
A p a r t o f th e c e l e s t i a l harm ony. E x i t , le d o u t by G u a rd s .
DARIUS.
The f a t e s a re s t i l l m a lig n a n t to th e g r e a t ;
They r i s e in g lo r y , b u t in b lo o d th e y s e t .
OTANES.
The ashes o f a K in g 's no common d u s t;
N o r i s i t f i t t h e i r m em ories s h o u ld r u s t .
I t i s n o t j u s t Cambyses' wrongs sh o u ld be
I d l y re c o rd e d to p o s t e r it y .
S in ce th e w o rld needs h is i n j u r ie s m ust h e a r;
They s h a ll be u t t e r e d in th e v o ic e o f w a r.
H is e m p ire 's fre e d o m , and th e im p o s to r's f a l l .
Summons o u r c o u ra g e , and to arms does c a l l .
B u t s in c e h is b r o th e r by y o u r hand d id b le e d .
B e fo re we f u r t h e r i n t h is cause p ro c e e d ,
'T is j u s t we f i r s t fro m you more f u l l y know
When 'tw a s , and where you gave t h a t f a t a l b lo w .
S u rp ris e d I
PREXASPES.
I t needs my w onder m ust c r e a t e .
N e v er to know, and y e t to a c t h is f a t e .
OTANES.
D id you n o t h e a r i t fro m o u r K in g 's own b r e a t h .
And y e t a re ig n o r a n t o f S m e rd is ' death?
E xe u n t A rta b a n
and G u ard s.
b e a rin g o u t Cambyses.
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To P re x a s p e s .
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P rexasp es s t a r t s .
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PREXASPES.
By a l l t h a t 's t r u e , no more to me i s known,
Than t h a t he l i v e s , and w ears th e P e r s ia n crow n.
DARIUS.
Can we b e lie v e Cambyses would d is c la im
H is o n ly h e i r , th a t sh o u ld p re s e rv e h is name?
B e s id e s , i t a g a in s t N a tu r e 's law s w ould be
To accuse h im s e lf o f a f a ls e c r u e lt y .
PREXASPES.
The law s o f N a tu re , and the t ie s o f b lo o d .
A re th in g s Cambyses n e v e r u n d e rs to o d .
No, ' twas h is b r o th e r t h a t he w ould d e s tro y ;
He e n v ie d him t h a t crown he d id e n jo y .
He th e n would have you t h a t reven g e p u rs u e ,
W hich now d e a th w i l l n o t g iv e him le a v e to d o .
Sm erdis s t i l l liv e s — b u t you a w ar m ust b r in g .
And o u t o f lo y a lt y depose y o u r K in g .
Take, heed - -
OTANES.
We know to o w e l l , Cambyses' b r e a s t
Was swayed by p a s s io n , and f a ls e i n t e r e s t .
B u t c o u ld he b e fo re you and us d e c la r e ,
You w ere h is b r o th e r S m erd is ' m urderer?
I f i t w ere f a l s e , he c o u ld n o t b u t s u s p e c t,
To c le a r y o u r s e lf , you w ould h is g u i l t d e t e c t .
PREXASPES.
T hen, to co n vin ce y o u , I w ith shame c o n fe ss
My lo y a l t y was g r e a t , and v ir t u e le s s .
To quench h is t h i r s t I b lo o d to o o f t have s p i l t .
The c o n fid a n t and a c t o r o f h is g u i l t .
And he m ig h t th in k who b lo o d f o r him had shed.
Would n o t r e fu s e , b a r e ly to s a y , I d id .
Thus he to a ss u re you to h is b r o t h e r 's d e a th ,
Took t h is ad van tag e to c o n firm y o u r f a i t h .
He knew —
R a th e r th a n any s t a in h is fame s h o u ld to u c h ,
I would say a n y th in g , who had done so much.
OTANES.
We a re c o n v in c e d .
DARIUS.
Long may y o u r b r o th e r l i v e , and l i v e to be
H e ir to y o u r c o n q u e sts, b u t n o t c r u e lt y .
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PREXASPES.
P re x a s p e s , w e l l , by tre a s o n s you d id gro w ;
They made you g r e a t , and s h a l l p re s e rv e you s o .
Scene Tw o.
The P a la c e .
_ _ _ _ _ E n te r S m erdis and P a t a s it h e s .
SMERDIS.
Cambyses dead 1
The heavens th e m s e lv e s two suns a t once c a n ’ t b e a r ;
N or e a r t h b e lo w , two m onarchs i n one s p h e re .
P e r s ia 's to o n a rro w b o th f o r h im and m e,
H is g l o r y 's s h ru n k , to g iv e m ine l i b e r t y .
PATASITHES.
No d o u b t, ' t i s to P re x a s p e s t h a t you owe
Y o u r e m p ir e 's s a f e t y i n h is happy b lo w .
SMERDIS.
To h im th e d e e d , b u t to m y s e lf th e c a u s e ;
S ta te i n t e r e s t b in d s s tr o n g e r th a n s t a t e la w s .
W ith such h ig h p r o f f e r s I ' v e o b lig e d h is t r u s t .
You know I ' v e p ro m is e d h im th e M e d ia n crow n ;
I g iv e h im h o n o rs to s e c u re my own.
We m onarchs to o u r s e lv e s o u r fo r t u n e s owe;
O ur a g e n ts a c t b u t w h at we b r ib e them t o .
P o o r m o r ta ls th u s may th e g o d s ' h o n o r r a i s e .
By b u ild in g te m p le s to e x a l t t h e i r p r a is e .
B u t ' t i s th e gods th e m s e lv e s t h a t do a f f o r d
Those m o r ta ls b r e a t h , by w h ic h th e y a r e a d o re d .
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A s id e .
E x e u n t.
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E n te r P re x a s p e s .
My b e s t o f f r i e n d s . Em braces P re x a s p e s .
PREXASPES.
N e x t to C am byses. He
L eaves you h is e m p ire f o r a le g a c y .
Know ing how w e ig h ty crowns and s c e p te r s a r e .
I ' v e b een so k in d to ease h im o f t h a t c a r e .
B u t, S i r , he d id b e fo r e h is d e a th c o n v in c e
H is n o b le s , t h a t you w ere n o t th e t r u e P r in c e .
B u t by such a r t I d id t h e i r s to rm a s s u a g e .
T h a t f o r th e p r e s e n t I h ave calm ed t h e i r r a g e .
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And i n y o u r cause such arg u m en ts d id b r in g .
T h a t th e y b e lie v e you b r o t h e r to o u r K in g .
B u t, S i r , yo u know t h a t s ta te s m e n 's je a lo u s y
Does o n ly s le e p , th e n when i t seems to d i e .
A t each d i s t a s t e , and e v e ry s m a ll m is t a k e .
T h e ir je a lo u s y when ' t i s d is t u r b e d , w i l l w ake;
And th e n t h e i r f u r y w i l l b r e a k f o r t h to d e ed s ;
Y ou a r e n o t s a fe th e n w h ile th e y w ear t h e i r h e a d s .
SMERDIS.
'T i s n o t c o n s is te n t w it h my e m p ir e 's good
To s t a i n my name w it h th e c h i e f P e r s ia n b lo o d .
PATASITHES.
He by m ild deeds m ust r e p r e s e n t th e K in g ,
S u b tle as s e r p e n ts , b u t w ith o u t t h e i r s t i n g .
SMERDIS.
T h a t a c t w o u ld seem to o c r u e li th e same a r t s
T h a t won them m ust p re s e rv e my s u b je c t s ' h e a r t s .
PREXASPES.
To save y o u r h o n o r th e n t h a t deed I ' l l d o .
SMERDIS.
Name i t , my s a f e t y s h a l l depend on y o u .
PREXASPES.
T h e ram n e s ' l a t e c o n c e a lm e n t g iv e s you j u s t
S u s p ic io n o f h is l o y a l t y , and t r u s t .
I f th e n y o u r;.p le a s u re w o u ld c o n fe r t h a t g ra c e
To c o n s t it u t e my G e n e ra l i n h is p la c e ;
I w i l l i n v i t e them to my t e n t as th e y
F o r th e e n te r ta in m e n t a l l t h e i r heads s h a l l p a y .
Then to s u p p res s a l l f u t u r e m u tin ie s
T h a t fro m t h i s t y r a n n ic a c t a r i s e .
T h e ir d e a th s I ' l l p u b lis h , and th e cause p r o c la im .
F o rg in g such h e in o u s tre a s o n s i n t h e i r nam e,
P e r s ia s h a l l do no le s s th a n t h in k i t j u s t .
And to my j u s t i c e , as t h e i r g u a r d ia n , t r u s t .
SMERDIS.
B u t g r a n t th e P e rs ia n s s h o u ld n o t t h in k i t so;
B u t th e a c t condemn.
PREXASPES.
Do yo u condemn i t to o ?
And i f y o u r s u b je c ts murmur o r r e b e l
'C au se by my hands th e P e r s ia n p r in c e s f e l l
Then i n s t a n t l y , to s a t i s f y t h e i r r a g e .
And show y o u d id n o t i n my g u i l t e n g a g e .
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D egrade me fro m my o f f i c e , and i n f l i c t
A l l p u n ish m en ts t h a t may seem j u s t and s t r i c t .
And I ' l l s u b m it to th e s e n te n c e ; th u s y o u ' l l seem
As f a r fro m th e c o n s e n t, as fro m th e c r im e .
SMERDIS.
W e ll, y o u r com m ission s h a l l be f o r t h w it h s ig n e d .
My a rm y 's co n d u ct to y o u r c h arg e r e s ig n e d .
PREXASPES.
May h eaven success to P e r s ia 's crow n a f f o r d
W h ile you th e s c e p te r b e a r - -
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SMERDIS.
And you th e sw o rd .
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E x e u n t.
Scene T h r e e .
The G ard e n .
E n te r Phedim a and O r in d a .
PHEDIMA.
S i s t e r , you now can by e x p e rie n c e p ro v e
W hat l a t e l y you d e f ie d , th e pow er o f lo v e .
'T is s tra n g e th e dead Theram nes s h o u ld o b ta in
T h a t c o n q u e s t, whom a l i v e you d id d is d a in .
W hat ra s h i n f e c t i o n does y o u r s o u l in v a d e .
T h a t y o u , who s co rn ed him l i v i n g , c o u r t h is shade?
A lo v e l i k e y o u rs was n e v e r h e a rd b e fo r e
To em brace h is memory, and name a d o re .
ORINDA.
S i s t e r , s in c e I have a l l a s s a u lts w ith s to o d .
He by no common fo r c e my h e a r t su b dued.
Such g lo r io u s p a in s my c a p t iv e s o u l e n d u re s ;
My lo v e 's beyond such a b je c t th o u g h ts as y o u r s .
Y o u r hum ble p a s s io n s c o u r t e ach fo n d d e s ir e .
And y o u r b r e a s ts ta m e ly o f th e m s e lv e s ta k e f i r e .
You make y o u r h e a r ts to o mean a s a c r i f i c e .
T a k in g i n f e c t i o n fro m y o u r l o v e r 's e y e s .
He d id more n o b ly to my h e a r t a s p ir e ;
He gave me f u e l e r e he gave me f i r e .
H is wounds, h is d e a th , h is g lo r y , and h is fam e.
They moved my p i t y , and t h a t r a is e d my fla m e .
N a y , o f h is lo v e he n o b le r p ro o fs have g iv e n .
When h is l a t e wounds had made him r i p e f o r h e av e n ;
Hjts d y in g b r e a t h , b e fo r e h is s o u l r e t i r e d .
B eq u eath ed h is lo v e to m e, and th e n e x p ir e d .
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H is d y in g b re a th h is p a s s io n d id p ro c la im , 25
Thus, p h o e n ix - lik e , e x p ir in g i n a fla m e .
Then ' t i s b u t ju s t t h a t I sh o u ld f a i t h f u l b e .
Thus to p re s e rv e so b ra v e a le g a c y .
PHEDIMA.
B u t y o u r a f f e c t io n is from hopes d e b a rre d .
When you can lo v e , and n o t e x p e c t re w a rd . 30
L o v e 's kin d n esses a re le n t , n o t g iv e n ; f o r when
T h ere is no hopes to be re p a id a g a in ,
I t should e x p ir e . Dead lo v e rs b a n k ru p t p ro v e .
D eath does exempt them from a l l d eb ts o f lo v e .
ORINDA.
No, lo v e is s ea te d in t h e i r s o u ls , and th e y 35 }
W ith them t h e i r p assio n s to th e s k ie s co n vey. I
F o r when k in d heaven does e n t e r t a in t h e i r s o u ls .
And to th e sacred l i s t o f s ta r s e n r o lls .
In heaven th e y pay those d eb ts on e a r t h th e y owe.
They sh in e and s m ile on us t h a t s ta y b e lo w . 40
They s t i l l t h e i r lo v es and fa v o rs do d is p e n s e .
A c tin g t h e i r kin d n ess in t h e i r in flu e n c e .
And when in heaven we b o th to g e th e r m eet.
T here we o u r t ie s fo r e v e r s h a ll u n it e .
No o b je c ts th e n my p a s s io n s h a ll rem ove, 45
T i l l i t grows up to an im m o rta l lo v e .
PHEDIMA.
S is t e r , t i l l now I th o u g h t th e re c o u ld n o t be
A lo v e l i k e m in e, b u t you o u t - r i v a l me.
B ut s ta y , my f a t h e r 's h e re ; l e t us r e t i r e .
And th e re h e a r o u t th e p a s s io n I a d m ire . E x e u n t.
Scene F o u r.
The Scene C o n tin u e s .
E n te r O ta n es , D a r iu s , and A rta b a n , w ith A tte n d a n ts .
OTANES.
'T is s tra n g e '. Our e n tra n c e to th e K ing d e n ie d I
DARIUS.
Now my p ro p h e tic fe a r s o u r doubts d e cid e '.
He d ared n o t g iv e us e n tra n c e , s in c e he knows
He to h is b e in g unseen h is s a fe ty owes.
4 5 . p a s s io n s h a ll rem ove] p a s s io n 5 0 . th e p a s s io n ] th a t p a s s io n ,
rem ove, Q l, Q2; can rem ove, 0 4 .__________ 0 1 . 0 4 .________________________
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OTANES.
Then m ust we to h is pow er o b e d ie n c e y i e l d .
As men to unknown gods do te m p le s b u ild ?
L e t d u l l and c re d u lo u s ig n o ra n c e ad van ce
F a i t h and r e l i g i o n , n o t a ll e g i a n c e .
M u s t we be o n ly g o v e rn e d by a name?
E n te r P re x a s p e s , w it h G u a rd s ; th e G uards s ta n d o f f
a t a d is t a n c e , u n s ee n b y O ta n e s , D a r iu s , and A r ta b a n .
PREXASPES.
P re x a s p e s m ust P re x a s p e s * c rim e s p r o c la im .
And now , my lo r d s , I do c o n fe s s my g u i l t ,
The b lo o d o f S m erdis by my hand was s p i l t .
And ' t i s th e im p o s to r t h a t u s u rp s th e th r o n e .
OTANES.
And d a re P re x a s p e s h is b o ld tre a s o n s own?
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PREXASPES.
Y e s , S i r , he d a r e s ; and th a n k h e a v e n , t o o , t h a t th u s 15
Has b y ray tr e a s o n s raade rae g lo r io u s .
Though ray l a t e f e a r d id raake my d u ty f a i l .
And fro m y o u r kn o w led g e S m erd is* d e a th c o n c e a l;
Now I 'm above th e f e a r o f p u n is h m e n t,
I d a re my g u i l t c o n fe s s , and c rim e s r e p e n t . 20
S m erd is by me was m u rd e re d .
D A R IU S. And by you
S m e rd is , th e im p o s to r , i s p r o t e c t e d to o .
PREXASPES.
My L o r d , he i s , and I so h ig h am g ro w n .
To be a d van ced and r a is e d n e x t to h is th r o n e . 25
V ie w h e re w h at la r g e e x t e n t ray pow er a f f o r d s ; Shows h is
T h e ir arms a r e m in e , and a l l th e P e r s ia n s w o rd s . C o m m issio n .
Be n o t s u r p r is e d a t t h i s , I n e v e r b e fo r e P o in ts to h is G u a rd s .
T i l l now, my lo r d s , th e sw ord o f j u s t i c e b o r e . a t w h ic h th e
Thus I p r o c la im t h a t j u s t i c e I d e s ig n , s t a r t .
'T i s y o u r command s h a l l r u l e t h e i r s w o rd s , and m in e .
OTANES.
Y o u r g e n ero u s p r o f f e r does s u r p r is e u s more
Than th e s tra n g e news o f y o u r la r g e pow er b e f o r e .
PREXASPES.
B u t you s h a l l w onder m ore a t w h a t I ' l l do.
When I am le d by l o y a l t y , and y o u . 35
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DARIUS.
B u t b y w h a t a r t s h ave yo u th e im p o s to r won?
PREXASPES.
By th e same a r t s I ' l l p lu c k h im .fro m h is th r o n e .
S in c e my g u i l t d id fro m S m e rd is ' b lo o d a r i s e .
I ' l l make h is r i v a l ' s b lo o d h is s a c r i f i c e .
The n o b le s t v a l o r fro m a lle g ia n c e s p r in g s ; 40
Who was th e f a l l , w i l l be th e r i s e o f k in g s .
OTANES.
J u s t ic e and g lo r y i n t h is a c t w i l l j o i n .
And as y o u r seconds i n t h is b ra v e d e s ig n .
O ur l i v e s and fo r tu n e s s h a l l a s s is t a n t be
To th e h e ig h ts o f c o u ra g e , and o f l o y a l t y . 45
PREXASPES.
I n o r d e r t h a t we may t h is deed f u l f i l l .
We f i r s t w i l l e x e c u te th e im p o s to r 's w i l l ,
Cam byses' solem n e x e q u ie s ; w h ile a l l
O ur arm y w a it s upon h is f u n e r a l.
And a l l th e P e r s ia n s u b je c t 's w a n d e rin g eyes 50
A re i d l y f i x e d on o u r s o le m n it ie s .
Then to th e h e ig h t we o u r d e s ig n w i l l b r in g .
P r o c la im in g you th e P e r s ia n h e i r and K in g , ^ O ta n e s .
And S m erd is th e u s u r p e r ; th e n s u r p r is e
The R o y a l P a la c e , th e im p o s to r s e iz e ; 55
The c i t y g a t e s , th e to w e r, th e f o r t s s e c u r e .
A l l t h a t may; s tr e n g th e n o r e n la r g e o u r p o w e r.
And i n one moment a l l t h e i r fo r c e s u p p res s
T h a t s h a l l oppose o u r g lo r y , and s u c c e s s .
And b y t h i s b ra v e d e s ig n we i n one day 60
S h a ll co n q u e r and redeem a l l P e r s ia .
DAR IU S.
'T i s b r a v e ly s p o ke n , now y o u 'r e w o rth y grow n
To be p ro c la im e d p r o t e c t o r o f a cro w n .
PREXASPES.
B u t one t h in g . S i r s , m ust n o t escap e y o u r e a r s ;
You a r e th e o n ly men t h a t Sm erdis f e a r s . 65
B u t I , to c a r r y on o u r j u s t d e s ig n .
And t h a t we m ig h t w ith o u t s u s p ic io n j o i n .
A s s u re d h im t h a t y o u r f a i t h s I d id c o n v in c e .
T h a t yo u b e lie v e d h im th e t r u e P e r s ia n p r in c e ;
I t o l d h im yo u w ere l o y a l , and yo u w o u ld 70
I n h is d e fe n s e v e n tu r e y o u r s t a t e s and b lo o d .
4 8 ;: :;e x e q u ie s j f u n e r a l r i t e s .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
P r e te n d in g th e n ' t w i l l w it h h is g lo r y s ta n d
To u n it e b o th a rm ie s u n d e r one command.
I t i s h is p le a s u r e t h a t you s h o u ld r e s ig n
B o th y o u r com m issions and s u b s c rib e to m in e .
OTANES.
S t i l l we e x p e c te d t h i s ; ' t i s h is p r e te n c e
To f o r c e us to a b l in d o b e d ie n c e .
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75
PREXASPES.
I t h e r e f o r e i n c o m p lia n c e t h in k i t f i t
You to th e ' t y r a n tt ' i s i f)le a s u r e s h o u ld s u b m it.
L e s t he s u s p e c t y o u r l o y a l t y and m ine ;
A nd by t h a t means we f r u s t r a t e o u r d e s ig n .
N o t t h a t I ' d h ave you t h in k t h a t ' t i s my aim
To ro b y o u r g l o r i e s to e n la r g e my fa m e .
N o , a l l t h a t I a s p ir e to is to be
The a u th o r o f an e m p ir e 's l i b e r t y .
OTANES.
We y i e l d , and h o p e , r e s ig n in g o u r command;
We do b u t p la c e i t i n a n o b le r h a n d .
PREXASPES.
And w it h y o u r arms I w i l l y o u r t r o p h ie s r a i s e .
The c o n q u e s t s h a l l be m in e , th e triu m p h y o u r s .
As men b u i l d te m p le s n o t f o r t h e i r own p r a is e .
B u t d e d ic a te them to some h ig h e r p o w e rs .
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85
B o th g iv e him
t h e i r c o m m is s io n s.
90
DAR IU S.
Go i n s t a n t l y to o u r c h ie f o f f i c e r s .
T e l l them t h a t ' t i s th e P e r s ia n K in g ! s d e s ig n .
C o n s u ltin g b o th h is i n t e r e s t and t h e i r s .
B o th a rm ie s s h o u ld u n d e r one c o n d u c t j o i n .
And b id th em , i n o u r P r in c e 's nam e, and o u r s .
To h is own T r a in .
95
P r o c la im P re x a s p e s G e n e ra l o f o u r p o w e rs .
PREXASPES.
Now to a s s u re y o u t h a t t h i s h ig h command
I s n o t p la c e d i d l y in P re x a s p e s ' h a n d .
He g iv e s y o u t h i s f i r s t t r i a l o f my p o w er,
G u a rd s , s e iz e th o s e t r a i t o r s .
'T i s y o u r f a t a l h o u r.
OTANES, DARIUS, and ARTABAN.
H o ld y o u r ru d e h a n d s .
PREXASPES.
You do f o r g e t r e s ig n in g y o u r commands;
You m ust o b e y .
E x e u n t a l l th e T r a in s
o f O tan es and D a r iu s .
100
G uards s e iz e O tanesi,
D a r iu s , and A r ta b a n .
To th e G uards,
105
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73
DARIUS.
Inhum an tr e a c h e r y I
I OTANES.
F a ls e t r a i t o r to th e P e rs ia n b lo o d , and me.
OTANES, DARIUS, and ARTABAN.
Unhand u s , v i l l a i n s .
PREXASPES.
i S ir s , i t i s to o l a t e .
I You have no tim e to d a l ly w ith y o u r f a t e .
I Y o u r heads m ust o f f , and I m ust see i t done;
I My lo r d s , you a l l s h a ll s e t b e fo re o u r su n .
On my command l e t y o u r o b e d ien c e w a it ;
I C onduct them to th e a p p o in te d scene o f f a t e .
I I ' l l add t h is honor to y o u r d e s t in y ;
; P rex a sp e s w i l l i n p erso n see you d ie .
!
! OTANES.
! A re we y o u r p astim e?
! DARIUS.
B o ld t r a i t o r , how can you so savage b e .
To a c t , and th e n to s m ile a t c r u e lty ?
PREXASPES.
I No m o re, be s e r io u s . I ' v e no tim e f o r s p o r t;
I C o n s id e r t h a t y o u r d a te s o f l i f e a re s h o r t .
I OTANES.
P e r f id io u s m u rd e re r, and may j u s t h eaven - -
I PREXASPES.
i Be g o n e, p e rfo rm t h a t ch arg e w h ich I have g iv e n .
110
FTo th e Guards .1 i
115 ;
To them . |
120
To th e G u ard s.
E x e u n t O ta n e s , D a r iu s , and A p ta b a n , fo rc e d o u t by th e G u a rd s .
S in c e b o th com m issions now a re i n my h an d .
And I do a l l th e P e rs ia n arms command.
Those swords w h ich a re co m m itted to my t r u s t ,
P rex a sp e s w i l l ta k e c a re th e y s h a ll n e v e r r u s t . E x i t .
I ^
j 1 2 8 . s h a l l n e v e r r u s t j s h a ll n o t r u s t , Q l, Q 2, Q 4.
I 1 2 0 ,4 [T o th e G u ard s] n o t i n any e d i t i o n .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
74 i
A c t F iv e . Scene O ne. i
I
I
A P r is o n . j
O ta n e s , D a r iu s , and A rta b a n a re d is c o v e r e d , bound and c h a in e d .
OTANES.
! P re x a s p e s I Oh, tame easy f a i t h s , t h a t we
C o u ld t r u s t t h a t savage S c y th ia n 's l o y a l t y ;
j A m o n ster w orse th a n A f r ic a e v e r b re d .
Whose b r e a s t , l i k e d e s e r ts , i s in h a b ite d
i By n o th in g b u t p o is o n s . 5 \
\ I
I DARIUS.
i Y o u r m is ta k e does seem |
: R a th e r a g a l la n t v i r t u e , th a n a c rim e .
I F o r i n g r e a t m inds t h is generou s i n s t i n c t r u le s ; i
j They by t h e i r own, copy a l l o t h e r s ' s o u ls . j
! A c tin g l i k e th o se d is e a s e s where th e eye 10 |
j I n i t s own c o lo rs does a l l o b je c ts d y e . |
! I
E n te r P re x a s p e s . I
i I
: PREXASPES. i
! My lo r d s , th e K in g is g ra c io u s , and has s e n t |
I To t r y how you can b ro o k im p ris o n m e n t. i
i
! OTANES.
I Im p ris o n m e n t we t h in k o u r g r e a t e s t b l i s s ;
j T h e re we can see n e it h e r y o u r c rim e s n o r h i s . 15
{
i PREXASPES,
I Am I by th o s e t h a t w ear my c h a in s contemned?
I I th a n k y o u . S ir s , you have y o u rs e lv e s condemned.
G u a rd s, th e r e w it h in . |T C a lls to th e Guards J
! DARIUS.
j Y e s , t r a i t o r , you s h a ll see
I T h a t we d e s p is e o u r d e a th s as much as th e e . 20
E n te r Guards and E x e c u tio n e r .
OTANES.
M u st we n o t know th e cause f o r w h ich we f a l l ?
PREXASPES.
The cause I H a, H a l Y e s , S i r , you s h a l l .
I t i s P re x a s p e s ' p le a s u re you s h o u ld d i e .
1 3 . b ro o k ") e n d u re . 1 8 .[ C a l l s to th e G u a r d s n o t i n
any e d i t i o n .
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75
'D A R IU S .
I s t h i s th e j u s t i c e o f y o u r c r u e lt y ?
PREXASPES.
J u s t ic e 1 J u s t ic e i s b u t th e b r e a t h o f p o w e r.
When e v e ry r i s i n g K in g and c o n q u e ro r
Does make t h a t j u s t i c e , w h ic h h is pow er makes la w s .
My pow er p ro c la im s th e j u s t i c e o f my c a u s e .
And i n y o u r d e a th s my p le a s u r e I f u l f i l l ;
'T i s j u s t y o u d ie - - to s a t i s f y my w i l l .
25
30
:OTANES.
I s th e n y o u r t h i r s t o f b lo o d th e o n ly cause?
i PREXASPES.
' T h ese i d l e i n t e r r u p t io n s make a pause
I O n ly to g iv e you b r e a t h , f o r d ie yo u m u s t;
And i t is j u s t you d ie — b ecau se ' t i s j u s t .
IARTABAN.
! And i s t h i s a l l ? 35
; PREXASPES.
j I can some re a s o n s show .
Y o u 'r e t r a i t o r s to y o u r K in g and c o u n try to o .
I Y o u , S i r , h a ve tw ic e a tte m p te d to s e t f i r e
i On S u sa. Y o u , D a r iu s , d id c o n s p ire
I To s e iz e th e p a la c e and th e t r e a s u r y ,
j Y o u , O ta n e s , h ave sw orn c o n fe d e ra c y
I W ith P e r s i a 's enemy th e S c y th ia n K in g .
A l l th e s e , and o t h e r tre a s o n s I c o u ld b r i n g .
B u t yo u s h a l l d ie ; th e n to th e w o rld th e y a l l
S h a ll p u b lis h e d be to j u s t i f y y o u r f a l l .
IOTANES.
i B lasphem ous l i a r !
;ARTABAN.
Î I s n o t o u r m u rd e rs w h ic h you h ave d e c re e d
S u f f i c i e n t , b u t o u r h o n o rs to o m ust b le e d ?
PREXASPES.
Y o u r l i v e s and h o n o rs m ust no lo n g e r s h in e .
B u t be e x tin g u is h e d to make way f o r m in e .
S m erd is m ust be deposed by me a lo n e .
And th e n P re x a s p e s s te p s in t o h is th r o n e .
T h a t my a m b itio n may a r r i v e to t h i s .
F i r s t , I ' l l ta k e o f f y o u r h e a d s , th e n s t r i k e a t h is ,
40
45 i
50
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76
OTANES.
Though S n e rd is be he whom I m ost do h a te .
C ould I b u t beg one d a y 's r e p r ie v e o f f a t e .
I ' d be th e f i r s t sh o u ld y o u r d e s ig n s b e tr a y .
55
PREXASPES.
A y e , S i r , so in th e o th e r w o rld you m ay.
These w i l l be p r e t t y s t o r ie s f o r th e d e a d .
And f o r t h a t end you f i r s t s h a ll lo s e y o u r h e a d .
S t r ik e h im l The E x e c u tio n e r moves h is sword in s ig n o f d e n i a l .
W h at, diso b eyed ? Or is i t b lo o d you fe a r ? To th e E x e c u tio n e r .
S in ce my d e s ig n w ants an i n t e r p r e t e r .
And y o u r tame s o u l c a n 't c o n s tru e my i n t e n t .
S la v e , you s h a ll d ie , to t r y th e e x p e rim e n t.
To y o u , my lo r d s , t h is honor I ' l l a f f o r d .
To f a l l by me, and t h is a lm ig h ty sw ord. Draws h is sw o rd .
Stand f a i r . S ta y , one th in g I fo r g o t ; L'm t o ld
You lea g u e s o f f r ie n d s h ip w ith Theram nes h o ld .
D a riu s s ig h s , h e a rin g Theram nes' name.
A s ig h I know to such a f r ie n d i s due;
B u t be n o t tr o u b le d , he s h a ll f o llo w y o u .
F rie n d s m ust n o t p a r t . I ' d th o u g h ts to have had h im h e r e .
And f o r y o u r sakes and m in e , I w is h he w e re ,
T h a t he m ig h t see t h is arm . Advances to s t r i k e o f f O ta n e s '
h e a d , a t w h ich th e E x e c u tio n e r
u n d is g u is e s h im s e lf , and ap p ears
to be Theram nes; a t w h ich th e
G uards s e iz e P rexasp es and d is a rm h im ,
and u n b in d O ta n e s , D a r iu s , and A rta b a n
' and r e s t o r e t h e i r sw o rd s, and b in d P re x a s p e s .
THERAMNES.
You have y o u r w is h .
PREXASPES.
T r a i t o r s , unhand me; s la v e s , w h at do you know
Who ' t i s you sh ould obey?
THERAMNES.
Y e s , S i r , th e y d o .
And so s h a ll you know to o .
Y our Guards a re m in e.
And yo u r l i f e , t r a i t o r .
PREXASPES.
C urse on y o u r d e s ig n ;
And cu rsed be a l l th e s ta r s t h a t r u le d t h is day
T h a t c o u ld , o r d ared P re x a s p e s ' l i f e b e t r a y .
Am I a t once o f a l l my hopes d e p riv e d ?
80
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77
THERAMNES.
Y o u r g re a tn e s s grew to o f a s t to be lo n g - liv e d .
DARIUS.
Theramnes l i v i n g I And p re s e rv e d to be
The a u th o r o f o u r liv e s and l i b e r t y I
W hat sudden change does a l l my th o u g h ts s u rp ris e ?
Or d a re I t r u s t th e w itn e s s o f my eyes?
How s t i f f I am, and u n d isp o sed to move.
These p le a s a n t charms u n w illin g to d is p r o v e .
L ik e him who heaven in a s o f t dream e n jo y s .
To s t i r and w ake, h is p a ra d is e d e s tro y s .
OTANES.
As s h ip -w re c k e d men who on some shore a re c a s t.
Look b ack upon th e dangers th e y have p a s t;
T h e ir h o r r o r so much o f th e w reck r e t a in s
They s c a r c e ly know t h e i r s a f e t y , n o r th e m eans.
T h is m ir a c le o f honor done by yo u .
K in d S i r , o b lig e s , and confounds us to o .
The e x p lic a t io n we fro m you m ust know.
90
95
100 :
THERAMNES.
To lo v e and fr ie n d s h ip you y o u r s a f e t ie s owe.
Theram nes c o u ld n o t f e e l him f a l l — n o r I _
C ould l i v e to see O r in d a ' s f a t h e r d ie .
H e a rin g t h a t you in p r is o n w ere d e ta in e d
By my u s u rp e r, by P re x a s p e à ' hand;
H is b la c k in t e n t io n s roused my s o u l, a la rm e d
My s le e p in g s p i r i t s , and my courage arm ed.
I was re s o lv e d i n s p it e o f fo r t u n e 's h a te .
E it h e r to f o llo w , o r p re v e n t y o u r f a t e .
B u t b e in g from a l l o th e r means d e b a rre d .
My o n ly means was l e f t to w in th e G u ard .
W hich t h e i r o ld G e n e ra l w ith ease d id sway;
They had n o t q u ite fo r g o t whom to o b e y.
'Twas by t h e i r h e lp I am so happy grow n.
To save y o u r l i v e s , on w hich depends my own.
i
! DARIUS.
I The g r e a t e s t w rack my w ondering s o u l endures
I I s how you have p re s e rv e d y o u r l i f e , h o t o u rs .
: THERAMNES.
Know, th e n , when you d id o f my l i f e d e s p a ir .
And l e f t me to b ra v e M egabyses' c a r e .
T h a t fam ed p h y s ic ia n , whose g r e a t s k i l l can prop
M en 's s in k in g fra m e s , and human r u in s s to p ;
H is a r t th e power o f d e s tin y c o n tr o ls .
G ives law s to n a tu r e , and r e p r ie v e s to s o u ls .
P o in ts to D a r iu s .
115 !
125 i
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78
When he had by h is s u b tle kn o w led g e fo u n d
My p a r t in g l i f e s t i l l s tr u g g le d i n my wound,
Then w h at s tra n g e s k i l l , w h at unknown a r t s he u s e d .
W hat p o w e r fu l b alm s he to my wounds in fu s e d
(G r e a t m ir a c le s a r e s t i l l g r e a t m y s t e r ie s )
T h a t w ere to o h a rd to t e l l ; l e t i t s u f f i c e .
He fo r c e d my f l y i n g s o u l to a r e t r e a t .
And r e in f o r c e d my senses i n t h e i r s e a t .
B u t th e n h e a r in g y o u r d a n g e rs , I p r e v a ile d
To h ave my d e a th p u b lis h e d , and my c u re c o n c e a le d .
T i l l i n y o u r s e r v ic e I a p r o o f c o u ld g iv e ,
I had done s o m eth in g to d e s e rv e to l i v e .
130
135
; DARIUS.
i You do to o much my b u rd en ed s o u l o v e rc h a rg e ,
I F o r to b e a r t h i s I m ust my s o u l e n la r g e .
I My jo y s a r e b u t to o w e ig h ty f o r my h e a r t . 140
; ARTABAN.
I To make them l i g h t e r , l e t us b e a r a p a r t .
DARIUS.
N o , S i r , t h i s i s so g r e a t a h a p p in e s s .
D iv id in g o f i t c a n n o t make i t le s s .
B ra v e f r i e n d . Em braces T h eràm n es.
OTANES.
B u t now I h ave a cause a f f o r d s
...A n o b le is u b je c t f o r a l l l o y a l sw ords,
1.45
i THERAMNES.
Name i t ; f o r w h at c a n n o t Theram nes d o .
When h e 's em plo yed f o r l o y a l t y , and you?
PREXASPES.
C u rs e s p u rs u e T h eram n es. A l l i s g o n e .
I 'm f a l l e n in t o a p r is o n fro m a th r o n e .
A n d , w h a t's th e w o rs t o f m is e r ie s , I s t i l l
Keep th e d e s ir e , th o u g h n o t th e pow er to k i l l .
150
OTANES.
'T i s th e d e p o s in g S m e rd is .
THERAMNES.
Howl B e tr a y
Him whom th e s c e p t e r , and my sw ord does sway 1 155
1 4 6 . n o b l e ] n o b le r , Q l, Q 2, Q 4.
1 4 9 . T h is l i n e n o t i n Q l , Q 2, Q 4.
1 5 0 -1 5 2 . N o t i n Q l, Q 2, Q 4.
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79
OTANES.
W h a t, an im p o s to r?
! i
jTHEEAMNES. I
I H o ld , t h is m u st n o t b e ; |
1 Can yo u f o r g e t w h a t's due to m a je s ty . |
I W ere i t n o t fro m y o u . Do n o t abuse y o u r f r i e n d ; |
He i s my K in g , and him I m ust d e fe n d . 160 ;
I DARIUS.
I He who yo u s e rv e t h a t b o rro w e d t i t l e w e a rs ; i
I Shame to a th ro n e and to th e name he b e a r s . '
i A la s , t h a t t r a i t o r th e t r u e S m erdis s le w . P o in ts to P re x a s p e s .
I I
IPREXASPES. ;
I A y e , and in te n d e d th e same f a t e f o r y o u .
i 1
I THERAMNES.
I A n d , w h a t i s an im p o s to r th e n m a in ta in e d 165 I
■ To w ear a c ro w n , and by my g u i l t y hand?
A b ase lo w t r a i t o r to o ; and c o u ld my sword
A s a n c tu a ry to h is c rim e s a f f o r d ? |
I B u t, S i r , can yo u f o r g iv e rae t h i s o ffe n s e ? !
i i
IOTANES. !
I Y o u r sw ord can y o u r s w o rd 's e r r o r s re co m p e n s e. 170 ■
ITHERAMNES.
i Once m ore th e e x e c u t io n e r 's my p a r t ;
i My sword s h a l l now do j u s t i c e on h is h e a r t . I
j To r i g h t my w ro n g s , I i n y o u r cause w i l l j o i n . j
I OTANES. !
I We c a n n o t f a i l in such a b ra v e d e s ig n . |
i DAR IU S. I
i B u t f o r t h i s a c t io n we m u st be p re p a re d 175
I To s t r i k e l i k e th u n d e r, e r e th e b lo w be h e a r d . I
I :
I OTANES. I
j B u t e r e I g o , I m ust h is s e n te n c e g iv e ; j
T r a i t o r , th y p u n is h m en t s h a l l b e to l i v e . To P r e x a s p e s . I
You i n t h i s p r is o n , and th e s e c h a in s s h a l l l i e , j
I lo v e y o u n o t so w e l l , to l e t you d i e . E x e u n t a l l b u t P re x a s p e s .
PREXASPES. I
I s h o u ld n o t w is h my r u i n to r e c a l l , |
Had I b u t sunk an e m p ire i n my f a l l ; '
And made a l l P e r s ia in my r u i n s h a re j
T h a t when p o s t e r it y my deeds s h o u ld h e a r , I
I t s h o u ld such h o r r o r fro m my name c o n t r a c t , 185 |
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80
T re m b lin g to h e a r w h at I made s p o r t to a c t .
B u t now m ust c a lm ly d i e . Had I b u t f i r s t .
L ik e e a rth q u a k e s th ro u g h th e tr e m b lin g w o rld d is p e r s e d ,
Shook n a t u r e 's fra m e s , and a l l m ankind o v e rth ro w n ,
I th e n c o u ld d ie - - n o t to s u r v iv e a lo n e . 190
B u t now m ust ta m e ly p e r is h . - - W e ll, I see
The gods th e m s e lv e s a c t by s t a t e - p o l i c y .
They t h e r e f o r e s p i t e f u l l y my f a t e d e c re e d ;
'C ause i f my r i s i n g g lo r ie s d id p ro c e e d .
They knew my pow er to t h a t v a s t h e ig h t w ould sway, 195
P rex a sp e s w ould have grow n more fe a r e d th a n th e y .
The scene s h u ts upon h im .
Scene Two *
The P a la c e .
E n te r S m e rd is , le a d in g P hed im a.
SMERDIS.
My f a i t h ' s confounded by ray h a p p in e s s ;
'T is th e h e ig h t makes th e o b je c t seem th e le s s .
Have you t h is b le s s in g r e a l l y d esig n ed ?
N o t, Madam, t h a t I d o u b t you can be k in d ;
Bu t he - -
Whose happy doom an o r a c le has g iv e n .
May d o u b t th e i n t e n t , though n o t th e pow er o f h eaven .
PHEDIMA.
You u rg e to o much w h at I ' v e to o p l a i n e x p re s s e d .
And fo r c e my b lu s h e s to make o u t th e r e s t .
SMERDIS.
P ardon my d o u b t. 'Twas my excess o f jo y
T h a t d id my sense o f h a p p in e s s d e s t r o y .
T h is d a y , f a i r e x c e lle n c e , p re p a re to be
P o ssesso r m ade, b o th o f my th r o n e , and me.
A l l g lo r ie s do to lo v e i n f e r i o r p ro v e ;
As g lo r y w a its on cro w n s, so crowns on lo v e .
PHEDIMA.
B u t, S i r , to h eaven I s o le m n ly have vow ed.
T h a t t i l l th e gods have t h e i r c o n s e n ts a llo w e d ,
I n e v e r w ould y i e l d my lo v e . Whom th e y d e s ig n .
M ust ta k e h is t i t l e fro m t h e i r v o ic e , n o t m in e .
P e rm it me th e n to e x e c u te my vow;
F i r s t , pay my d e b ts to h e a v e n , and th e n to y o u .
SMERDIS.
To th e te m p le th e n we i n s t a n t l y w i l l h a s t e .
And th e r e I ' l l h e a r my happy s e n te n c e p a s s e d .
10
P r o f f e r s to !
le a d h e r o u t. !
20
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
To t h e i r c o n s e n ts I w i l l th e gods c o n ju r e ;
W hat common charm s c a n 't d o , y o u rs w i l l p r o c u r e .
And h e a v e n t h a t does a l l le s s e r v ic t im s p r i z e .
C a n 't b u t a c c e p t a l o v e r 's s a c r i f i c e .
81
25
E x e u n t.
1.
Scene T h r e e .
A Tem ple o f th e Sun, u n c o v e re d a c c o rd in g to th e
a n c ie n t custom , w it h an a l t a r i n th e m id d le , b e a r in g
tw o la r g e b u rn in g ta p e r s ; a P r ie s t s ta n d s on each s id e .
E n te r S m e rd is , le a d in g P h e d im a .
P R IE S T .
H a i l , K in g o f K in g s , t h i r d o f t h a t r o y a l nam e.
H e ir to g r e a t C y ru s ' e m p ire , and h is fa m e .
2 . P R IE S T .
H a i l , m ig h ty m o n arch , whose h ig h ra c e b eg an
From th e w o r ld 's c o n q u e ro r, and o u r god th e sun,
SMERDIS.
Summon y o u r g o d -h e a d s . I demand fro m h e a v e n
I n one p e t i t i o n more th a n e re was g iv e n .
I a s k n o t c ro w n s , th o s e I esteem le s s d e a r ;
Crowns I can g iv e , — f o r I b e s to w one h e r e .
5 ;
Bowing to P hed im a.
1 . P R IE S T .
S i r , s in c e y o u r g r e a tn e s s , and h e r b e a u ty is
So n e a r a l l i e d to t h e i r d i v i n i t i e s .
You b y such t i e s do th e g o d s ' f r ie n d s h ip s b in d ;
H eaven w ere u n n a t u r a l, w ere i t u n k in d .
SMERDIS.
I th e n w o u ld know i f th e k in d gods a p p ro v e
T h a t I s h o u ld be made happy in t h a t lo v e
W hich th e y th e m s e lv e s in s p ir e d ? I f by t h e i r v o ic e
They w i l l c o n s e n t to t h is o u r r o y a l c h o ic e .
I ' l l s to r e t h e i r a l t a r s , and I ' l l make them s h in e
W ith th e m ost g lo r io u s o f a l l fla m e s — b u t m in e .
A l l t h i s , and g r e a t e r th in g s th a n t h is I ' l l d o .
W ith such m a g n ific e n c e , t h a t h eaven s h a l l know
Who ' t i s th e y h ave o t» lig e d .
1 . P R IE S T .
The pow ers o f h eaven
Need n o t th e s e b r ib e s ; t h e i r f a v o r 's f r e e l y g iv e n .
10
15
20
I
1 3 . know i f th e k in d ] know w h e th e r 2 1 . th e y h a v e ] i t h a s , Q l, Q4.
th e gods a p p ro v e , Q l, Q2, Q4.______________________________________________
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82
Do b u t w ith p a tie n c e , m ig h ty S i r , a tte n d .
U n t i l o u r r i t e s , and p o w e rfu l charm s, we e n d .
And you s h a ll know how k in d t h e i r p le a s u re s a r e .
When yo u , g r e a t K in g , a re t h e i r p e t i t i o n e r .
[ s o n g."]
You s u b tle s p i r i t s t h a t do f l y
A round th e re g io n s o f th e sky;
And as a s p y , o r as a g u e s t.
Can p ie r c e in t o th e c lo s e s t b r e a t .
And make d is c o v e r ie s o f a l l
E v e n ts t h a t in y o u r c i r c u i t s f a l l ;
S w if t as y o u r own w inged lig h t n in g send
Y o u r n im b le s t h e r a ld to a tte n d
T h is r o y a l p a ir t h a t th e y may know
W hat f a t e h eaven does t h e i r lo v e s a llo w .
You who in borrow ed shapes a p p e a r.
And c h e a t th e e y e , b u t n o t th e e a r .
W ith in t h is a i r y c i r c l e h e r e ,
I do c o n ju re you to a p p e a r.
25
I^He s in g s .j
30
35
Waves h is wand a ro u n d .
[SONG.^ T h is t i t l e n o t i n any e d .
2 8 -4 1 . Song p r in t e d in i t a l i c s ; in
d o u b le colum ns in Q4.
2 8 . [ He s in g s j N ot in any e d .
^ Song cone lu d e s .j
Obey o u r charm s, as we obey y o u r p o w ers.
And t e l l t h a t m o n arch 's f a t e , whose f a t e t e l l s o u rs .
A G lo rio u s S p i r i t descends b e h in d th e a l t a r , and s p e a k s .
S P IR IT .
To show how heaven does yo u r d e s ir e s a p p ro v e .
The im m o rta l gods i n k in d n es s to yo u r lo v e 45
Have f o r y o u r wounded h e a r t t h is f a t e i n s to r e .
A f t e r t h is happy day to b le e d no m ore.
F o r P e r s ia 's g lo r y t h e i r h ig h powers d e s ig n
Y o u r lo v e s h a ll l i k e th e s e s a c re d ta p e rs s h in e . P o in ts to th e
And to co m p lete w hat heaven in te n d e d h a s , ta p e rs on th e a l t a r .
Y o u r lo v e and hopes s h a ll end i n an em b race.
And to y o u r b e a u ty th e j u s t gods o r d a in To Phedim a.
You o n ly f o r th e P e r s ia n m o n a rch 's queen;
Y o u r m e r its have fro m heaven t h is fa v o r fo u n d .
Y o u r lo v e and you s h a ll b o th t h i s day be crow ned. 55
B u t w hat my message has n o t f u l l e x p re s s e d .
Y our fo r tu n e s and success s h a ll speak th e r e s t . Ascends a g a in .
4 1 . [ Song co n clu d es J) N o t in any |
e d i t i o n .
4 4 - 5 7 . These lin e s s e t in i t a l i c s i
in a l l e d it io n s . i
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83
SMERDIS.
L e t h eaven and fo r tu n e keep th e r e s t i n s t o r e .
T i l l my s o u lis la r g e enough to w is h f o r m o re.
Now, Mapam, I w ith b o ld n e ss d a re d e c la r e 60
When h eaven is k in d , t h a t I presum e you a r e .
PHEDIMA,
I f ' t i s my f a t e , t h a t c an n o t be re p e a le d
W hich h eaven has g r a n te d , and th e gods have s e a le d .
SMERDIS.
T h a t o u r a d v a n c in g jo y s may n e v e r r e t r e a t .
Now l e t o u r n u p t i a l t ie s o u r lo v e s c o m p le te . 65
As Sm erdis a d v a n c e s .
le a d in g Phedim a to w a rd s th e A l t a r .
a s o f t m usic fro m th e a i r is h e a r d .
W hat p le a s a n t m u s ic 's t h is t h a t charms my e a rs ?
1 . P R IE S T.
Some a i r y c o n s o rt fro m th e lo w e r s p h e re s .
A s a c re d t r i b u t e w h ich th e gods do pay
To add a g lo r y to y o u r n u p t ia l d a y .
Two G lo r io u s S p i r it s descend i n c lo u d s , by whom t h is Song is s u n g .
1 . S P IR IT .
K in g s fro m th e g o d s , and fro m o u r e le m e n ts
D e r iv e t h e i r g re a tn e s s , and d e s c e n ts .
S in ce th e y a r e s p a rk s o f h e a v e n ,
'T i s j u s t th e y have fro m us t h is t i t l e g iv e n .
To s h a re o u r pow er and g o d -h ead s to o ,
As b e in g h e a v e n -s d e p u tie s o f s t a t e b e lo w .
2 . S P IR IT .
No, n o , ' t i s o th e rw is e d e cre e d
H e a v e n 's c o u n c ils do more c a u t io u s ly p ro c e e d .
M o n a rc h s, as r i v a l s to th e g o d s, s h o u ld f in d
H eaven m ust n o t b y s ta te -la w s be k in d »
The gods f o r t h e i r own g re a tn e s s s a k e ,
None b u t th e m s e lv e s im m o rta l m ake.
The g lo r ie s and th e pow er o f k in g s
A re fa d in g th in g s ;
L ik e th e o b je c ts o f s o f t dream s d e s ir e d .
C o u rte d , e n jo y e d , and in th e em brace e x p ir e d .
And v a n is h e d w h ile th e y a re a d m ire d .
Then S m erd is , S m erd is , S m erd is , ' t i s h ig h tim e to wake
70
75 i
80
85
7 0 - 8 7 . Song s e t i n i t a l i c s i n a l l e d it io n s .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
84 . I
The Song e n d e d . th e m u sic tu rn s in t o an A la rm . !
a t w h ich a b lo o d y c lo u d in te r p o s e s b e tw ee n th e I
a u d ie n c e and th e S p i r i t s ; th e c lo u d i s im m e d ia te ly ;
re m o v e d , and th e g h o s ts o f Cambyses and th e t r u e S m erdis j
a p p e a r i n th e s e a ts o f th e fo rm e r S p i r i t s . i
SMERDIS.
H a l S m erd is and Cam bysesI Whom th e one
I o f h is t i t l e ro b b e d , th e o th e r o f h is th r o n e .
B u t s u re th e gods m is ta k e th e m s e lv e s , to t h in k
T h a t S m e rd is ' c o u rag e can a t shadows s h r in k .
A re th e s e th e t r a g i c m asquers o f th e s k y .
Whose a i r y n o th in g o n ly c h e a ts th e eye?
L e t w a n d e rin g f i r e s and m e te o rs make them s t r a y
Who do n o t know t h e i r g u id e r , n o r t h e i r w ay.
B u t such w eak t r i f l e s c a n n o t S m erdis f r i g h t ;
Y o u r gods to o l a t e my e n v ie d g re a tn e s s s p i t e .
I h a ve o u t-d o n e th e u tm o s t th e y d a re d o ;
M ock on - - S n e rd is d e s ir e s y o u r g o d s , and y o u .
I am above y o u r t h r e a t s ; such em pty th in g s
B o rro w th e fo rm , b u t I th e pow er o f k in g s .
N o , keep y o u r t h i n and fe ig n e d s h ap e s ; b u t know
I t was my tr e a s o n t h a t tra n s fo rm e d you s o .
And f o r t h i s mask th e gods may th a n k me f o r i t ;
'Tw as I gave them th e s u b je c t f o r t h e i r s p o r t .
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95
100
105
A . ^ t . # 5 — •
and th e b lo o d y c lo u d in te r p o s e s a g a in . and s ta v s ; th e two
ta p e r s on th e a l t a r f l a s h , and e x p ir e ; th e c rv o f tre a s o n
W hat do I h e a r?
and th e n o is e s o f swords a r e h e a rd o f f s t a g e .
E n te r P a t a s it h e s , am azed .
PATASITHES.
T re a s o n . We a r e b e tr a y e d .
i SMERDIS.
I And h eaven i t s e l f to o has th e t r a i t o r p la y e d .
S h a ll my lo v e th u s l i k e to th e s e ta p e r s s h in e ?
T h e ir l i g h t ' s gone o u t , and so I f e a r w i l l m in e . 110
C u rse on t h e i r r i d d l e s . The c r y o f tr e a s o n i s h e a rd a g a in .
PATASITHES.
H a l The n o is e comes n e a r .
My f e a r s in c r e a s e .
SMERDIS.
N o , ' t i s to o l a t e to f e a r .
B u t, o h , t h a t S m erdis c o u ld h is f a t e r e c a l l .
And r e ig n b u t one day lo n g e r e r e he f a l l .
To be re v e n g e d o f h eaven b e fo r e he d ie s ;
115
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85
I ' d t u r n t h e i r te m p le s to one s a c r i f i c e .
Thus b y o u r gods b e tr a y e d I
Can th e r e be tr e a s o n h a rb o re d in t h a t name? 120
T h e y 'r e a l l im p o s to rs , g r e a t e r th a n I am.
E n te r T h eram n es, O ta n e s , D a r iu s , and A r ta b a n ,
w it h t h e i r swords d ra w n ; Theram nes m akin g a pass a t S m e rd is ,
th e y e ach m is s in g t h e i r p a s s , c lo s e ; w h ile th e y s t r u g g le ,
P a t a s it h e s engages w it h O ta n e s ; and w h ile D a riu s and A rta b a n
o f f e r to t h r u s t th ro u g h S m e rd is , ^ T h e ram n e s ' a rm s ,
Theram nes s p e a k s .
THERAMNES.
T h r u s t th ro u g h us b o th , r a t h e r th a n m iss h is h e a r t .
D a riu s s ta b s S m e rd is , and O tan es k i l l s P a t a s it h e s .
DARIUS.
F o r tu n e to g u id e my sw ord to o k f r i e n d s h ip 's p a r t .
SMERDIS. I
Was t h i s th e em brace i n w h ic h th e gods in te n d ;
My lo v e and l i f e s h o u ld w it h my e m p ire end? 125 ;
I t has re a c h e d my h e a r t . T h is f a t e h e av e n had i n s t o r e .
T h a t th u s my wounded h e a r t s h o u ld b le e d no m o re . D ie s . ;
OTANES.
Now, d a u g h te r , yo u have f o r y o u r c o u n t r y 's good
Done w h a t becomes y o u r d u ty , and y o u r b lo o d .
To P h ed im a .
PHEDIMA.
W hat I have done was i n a c ro w n 's d e fe n s e
And 'tw a s an a c t o f my o b e d ie n c e .
130 !
D A R IU S.
B u t I t h i s deed an a c t o f lo v e m ust c a l l .
When y o u 'r e an a c t o r i n my r i v a l ' s f a l l .
T h e r e 's w a n tin g y e t to th e triu m p h s o f t h is d a y .
T h a t you a c c e p t th e crow n o f P e r s ia .
OTANES.
My a g e , and y o u th , w it h d i f f e r e n t p a s s io n s m ove;
I am ab o ve th e charm s o f p o w e r, o r lo v e .
My th o u g h ts f l y h ig h e r th a n to i n h e r i t th ro n e s ;
N o t to w ear d ia d e m s , b u t d is p o s e o f c ro w n s .
B u t s in c e my b i r t h makes me a n e m p ir e 's h e i r ,
I Thus I a c c e p t th e crow n - - to p la c e i t h e r e .
I DAR IU S.
I S hould I a c c e p t y o u r b i r t h ' s and m e r i t 's d u e ,
I s h o u ld b o th i n j u r e P e r s ia and y o u .
To P h ed im a.
To O ta n e s .
135
140
To D a r iu s . |
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86
N o , ray a r a b itio n . S i r , s h a l l n e v e r c llra b
W here th e a c c e p ta n c e o f a th r o n e 's a c rira e .
OTANES.
S in ce you so n o b ly do r e fu s e a crow n ,
I w i l l t h i s t i t l e o f a raonarch own.
I , as y o u r K in g , t h i s second p r o f f e r raake;
On y o u r a lle g ia n c e , w ear i t f o r ray s a k e .
DARIUS.
N o , S i r , ray h o n o r p le a d s in ray d e fe n s e ;
X s h o u ld be g u i l t y i n o b e d ie n c e .
OTANES.
S in c e you a t t h i s coraraand r e fu s e a th r o n e .
Thus I command you - - Take i t as ray s o n .
I
i E n te r O rin d a and L a d ie s .
145
150
G iv e s him P hed iraa.
DARIUS.
I n t h i s , my L o rd , you do new charms in fu s e ;
Love makes rae ta k e w h at h onor d id e x c u s e .
I n t h i s you g iv e m ore th a n a crow n ; I d a re
A c c e p t an e m p ire , to d iv id e i t h e r e .
155
Bows to P hed im a.
ALL.
Love l i v e D a r iu s , K in g o f P e r s ia .
The two ta p e rs on th e a l t a r l i g h t a g a in by
two fla s h e s o f f i r e , w h ic h descend and k in d le th em .
2 . P R IES T.
T h is omen h eaven does to y o u r e m p ire show
T h a t l i g h t e x p ir e d w it h him r e v iv e s i n y o u .
Thus g lo r io u s ly th e s a c re d ta p e rs shone
T h a t day when C yrus d id ascen d th e t h r o n e .
1 . P R IE S T.
B u t e r e we crown you K in g , ' t i s j u s t you knew
O ur law s a r e s a c re d n e x t o u r g o d s, and y o u ;
Law s, w h ic h by m onarchs to o m ust be o b e ye d .
And i n t h e i r r i g h t I now am bound to p le a d .
'T is w r i t t e n , S i r , in P e r s ia 's s t r i c t d e c re e s .
I f any P e r s ia n K in g b y tre a s o n d ie s .
T h a t day h is h e i r does h is h ig h s e a t s u p p ly .
H is p re d e c e s s o r 's m u rd e re r m ust d i e .
You t h e r e f o r e i n Cam byses' cause a r e bound
To a c t h is j u s t i c e f i r s t , and th e n be crow n ed.
DARIUS.
Ye g o d s, t h a t do to k in g s t h i s c h arg e e n t r u s t .
You make us c r u e l when you raake us j u s t .
160
165
170
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87
B rin g i n th e c a p tiv e p r in c e s s . 175
PHEDIMA.
W hat new scene
I s t h is t h a t m ust y o u r j u s t i c e e n t e r t a in ?
DARIUS.
An o b je c t t h a t had b u t h e r s o u l conform ed
To t h a t p e r f e c t io n w h ich h e r eyes a d o re d .
H e r v ir t u e s g lo r io u s as h e r b e a u ty shown,
I Madam, s h e , l i k e y o u r s e lf , d e s e rv e d a th r o n e ,
I B u t s in c e Cam byses' b lo o d by h e r was s p i l l e d ,
[ She by h e r own m ust e x p ia te h e r g u i l t .
' J u s t ic e and w ar in t h i s a l i k e p a r ta k e ;
The b lo o d ie s t s p o ils th e g r e a t e s t triu m p h s make
180
185
j E n te r th e supposed M andana, i n a m o u rn in g h a b i t ,
; w it h a b la c k v e i l o v e r h e r f a c e , a tte n d e d b y G uards and E x e c u tio n e r ,
Had we n o t owed t h a t b lo o d u n to y o u r h an d .
W hich does my s e n te n c e , and y o u r d e a th demand.
You s h o u ld n o t th u s , b u t a more n o b le way
Have made a p a r t i n th e triu m p h s o f t h i s d a y .
I th e n a m ild e r j u s t i c e w ould have shown.
N o t to o k y o u r l i f e , b u t have r e s t o r e d y o u r crow n.
I 'm s o r r y th e n I'm so i l l ta u g h t by y o u .
By y o u r exam ple to be c r u e l to o .
Y e t , p a rd o n me, t h a t s en ten c e I m ust g iv e .
W hich I w an t p o w e r, n o t p i t y , to r e p r ie v e .
To h e r.
190
195
1 . P R IE S T.
H e r s e n te n c e . S i r , i s b u t to o lo n g d e f e r r e d .
DARIUS.
Then E x e c u tio n e r - -
PHEDIMA.
H o ld , t i l l I'm h e a r d .
D a r iu s , I my d u ty s h o u ld b e t r a y ,
N o t to show p i t y w here so much you p a y .
Know th e n , I am y o u r r i v a l , and d a re own
A s h a re in t h is as w e ll as i n y o u r th r o n e .
P r in c e s s , y o u r b i r t h and fo r t u n e m e r it s more
Than e v e ry common p i t y can d e p lo r e .
H eaven to th e g r e a t t h is c r u e l fo r t u n e g iv e s ;
The gods have made you p r o d ig a l o f y o u r liv e s
To ro b m a n kin d .
E n te r M andana, le d i n b y G uards and A tt e n d a n t s .
200
To M andana.
205
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88
I MANDANA.
I A t y o u r command I come
! To a tte n d y o u r s e n te n c e , and em brace my doom.
I 1 . GUARD.
I I was by t h a t im p o s to r b r ib e d , b u t lo a th P o in ts to th e o t h e r ,
j To v io l a t e my t r u s t , I b ro u g h t them b o th .
I
! DARIUS.
; Y o u r f a t e is i n such m y s te rie s in v o lv e d ,
! T h a t r i d d l e , e re you d ie , m ust be r e s o lv e d . P o in ts to th e o t h e r .
MANDANA.
W hat f r i e n d , o r r a v is h e r , ro b s me o f my doom.
B o rro w in g my lik e n e s s to u su rp my tomb.
To save my l i f e , and s a c r i f i c e t h e i r own?
Though lo v e my r i v a l s h a v e , s u re d e a th has n o n e.
D e a th has no charm s, o r o n ly charms to me;
'Cause d y in g , I s h a ll v i s i t h e a v e n , and th e e .
My d e a r O s i r i s .
215
220
I O S IR IS .
I No, he w a its you h e r e . U n d is g u is in g h im s e lf , and
I O s i r i s , Madam, has n o t l e f t y o u r s p h e re . f l i n g i n g o f f th e v e i l .
MANDANA.
O s i r i s ' s o u l, and come to w a it on m ine I
H eaven to o u r lo v e r s t h is k in d n e s s does r e s ig n .
Oh, my d e a r s a in t , s ta y b u t t i l l I am dead
And fro m th e s e e a r t h ly c h a in s o f n a tu re fr e e d ;
And th e n my s o u l s h a ll go a lo n g w ith t h in e .
W h ile we in a i r y s o f t em braces tw in e .
W e 'l l l i k e a m o u nting w h ir lw in d upw ard move;
W e 'l l f l y i n c ir c le s in th e arms o f lo v e .
T h e re th e k in d gods s h a ll to o u r b r e a s t in s p ir e
Such s p arks o f h e av e n , such new and g lo r io u s f i r e ,
T h a t to t h a t h e ig h t we w i l l o u r lo v e s r e p a i r .
T i l l o u r k in d fla m e s s h a ll k in d le to a s t a r .
Now, E x e c u tio n e r .
O S IR IS .
H o ld , you m is ta k e ,
O s ir is l i v e s ; and had heaven f o r h is sake
And y o u rs been k in d , h e 'd liv e d to have d ie d f o r y o u .
i MANDANA.
O s ir is liv e s 1 Oh, th e n , m ig h t I l i v e to o .
225
230
235
2 0 9 . em brace my doomQ em brace
y o u r doom, Q 3.
•2 2 4 . H eaven to o u r lo v e r s t h is
k in d n e s s does r e s ig n .] H eaven to
o u r lo v e s t h is k in d n e s s does
d e s ig n . Q l, Q2, Q 4 ._______ : _________
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89
O S IR IS .
Know th e n , t h a t when you saw me l a s t , when I
Was by Cam byses' ra g e condemned to d ie .
I t was th e t y r a n t 's fo r tu n e to p r e f e r
L o rd A rta b a n to be ray m u rd e re r.
B u t he —
P it y in g my y o u th , and som ethin g w hich he re a d
D id in my lo o k s f o r h is com passion p le a d .
I n a c o m p lian ce to th e t y r a n t 's b r e a t h .
D is g u is e d me i n a b o rro w ed mask o f d e a th .
And th en ce t i l l now my p erso n d id s ec u re
To f r e e me fro m th e t y r a n t 's e y e , and p o w e r.
MANDANA.
W hich does th e g r e a t e r wonder seem, to see
O s ir is l i v e , o r come to d ie f o r me?
240
245
250
I O S IR IS .
You need n o t w onder, s in c e you know th e c au s e ,
' Love has a power above a l l n a t u r e 's la w s .
D y in g f o r you I s h o u ld so happy p ro v e .
To have done a deed w o rth y m y s e lf, and lo v e .
To show y o u r f r ie n d s h ip , l e t my P rin c e s s l i v e .
!
I DARIUS.
I O h, now you a s k , w hat I w ant power to g iv e ,
i 1 . PR IEST.
i The P e rs ia n la w s , l i k e to t h e i r god, th e sun,
I I n one u n a lt e r a b le c o u rse m ust ru n ,
i And she m ust d i e , n o r m ust you fa v o r show
Because o u r g o d s, and law s w i l l have i t s o .
255
To D a r iu s .
260
I O S IR IS .
j I f heaven d e lig h t s i n human s a c r i f i c e ,
I May n o t my d e a th th o se c r u e l gods s u ffic e ?
I To save h e r l i f e , on me t h a t g ra c e c o n fe r .
To f a l l a s a c r i f i c e to h e av e n , and h e r .
MANDANA.
H o ld , S i r , y o u r z e a l y o u r ra sh n e s s does d e c la r e ;
L o v e rs in a l l th in g s b u t in d e a th my s h a re .
Know th e n , k in d r i v a l , t h a t ' t i s o n ly I ,
Mandana in M an d an a's cause m ust d ie .
THERAMNES.
M andana1
To see y o u . Madam, I m ust b le s s my e y e s ;
B u t I m ust c u rs e them when I see she d ie s .
270
Runs to h e r .
A s id e .
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90
MANDANA.
P r in c e In ta p h e r n e s , w h at s tra n g e s t a r s have s e n t
You h e re to see t h a t f a t e you c a n 't p re v e n t? 275
THERAMNES.
I do c o n ju re you s p a re t h is P r in c e s s ' b lo o d . K n e e ls to D a r iu s .
By a l l t h a t 's f r ie n d s h ip , a l l t h a t 's g r e a t , and g o o d .
DARIUS.
T h eram n es, r i s e . New w anders you c r e a t e .
THERAMNES.
'T i s n a t u r e 's t i e s make me h e r a d v o c a te .
2 . P R IE S T .
You n eed no a rg u m en ts to p le a d h e r c a u s e .
F o r she m ust d i e , to s a t i s f y o u r la w s .
280
I THERAMNES.
; I f th e n y o u r law s such c r u e lt y e x a c t .
To save h e r l i f e . I ' l l j u s t i f y th e f a c t .
O h, S i r , you m ust h e r l i f e r e p r ie v e ; you know
T h a t to h e r hand you do y o u r s c e p te r ow e.
To th e P r i e s t s .
To D a r iu s .
285
DARIUS.
I fro m Cam byses' d e a th my crow n d e r iv e ;
N o t fro m h e r g u i l t t h a t d id h is d e a th c o n t r i v e .
Come th e n , T h eram n es, p le a d h e r cause no m o re;
I w an t n o t f r ie n d s h ip , b u t I w an t th e pow er
To save h e r l i f e , th o u g h f o r T h eram n es' s a k e ;
Y e t ' t i s o u r la w s , n o t I , t h a t l i f e w i l l t a k e .
O ur law s w h ic h do t h i s c r u e lt y e n jo in ,
I c a n n o t save h e r l i f e f o r him who g ave me m in e .
Now, E x e c u tio n e r . - - B u t h o ld - - I see
No K in g s o f P e r s ia fro m h e r pow er a r e f r e e .
She m u rd e red h im , and now she co n q u ers m e.
My p i t y t e l l s me t h a t she m ust n o t d i e .
IMANDANA.
S i r , y o u r d e la y s a r e b u t y o u r c r u e l t y .
I And s in c e my d e a th i s b y y o u r law s d e s ig n e d ,
A speedy j u s t i c e . S i r , i s o n ly k in d .
290 ;
295
300
i O S IR IS .
I H o ld , S i r , I ' l l in te r p o s e ., ' t w i x t h e r and d e a th ;
i And i n my b r e a s t th e f a t a l weapon s h e a th .
IMANDANA.
I 'T i s I m ust d i e . You do y o u r P rin c e s s w ro n g ;
L iv e , th o u g h I d i e , b u t do n o t l i v e to o lo n g .
F o r , d y in g , I to h e a v e n a s tr a n g e r g o , 305
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91
W andering a lo n e , w h ile you s ta y h e re b e lo w . |
And w a n tin g y o u r k in d p re s e n c e , I s h a ll be
A p i l g l r i m i n t h a t v a s t e t e r n i t y .
B u t t h a t my s o u l may n o t m is ta k e h e r way.
I ' l l t r a c k y o u r s te p s , and in y o u r shadow p la y . 310 1
When I 'm re s o lv e d to a i r , a s u b tle g u e s t
I ' l l h o v e rin g f l y , and s t e a l in t o y o u r b r e a s t. |
And in my a i r y p ilg r im a g e I ' l l make
M andana's s o u l p a r t o f th a t b r e a th you ta k e . ;
I ' l l keep my image in y o u r b r e a s t e n t i r e , 315 i
In s p ir in g you w ith c h a s te and lam bent f i r e . i
Sometimes I w i l l w ith g e n tle w h isp e rs flo w .
Sometimes I w i l l a storm y murmur b lo w .
And i n t h is lan g u ag e my ad d resses m ake, 1
B re a th in g t h a t lo v e w hich I w ant words to sp eak. 320 :
O S IR IS .
0 C ru e l P r in c e s s , now you a re u n k in d , ^
To t h in k , when you a re d ead . I ' l l s ta y b e h in d . !
F o r when O s ir is sees Mandana d ie .
Sorrow w i l l a c t t h a t w hich t h e i r hands d en y.
MANDANA.
My th o u g h ts w ere f ix e d on h e av e n . B u t, f o r y o u r s a k e , 325
S om ething, I know n o t w h a t, does p lu c k them b a c k .
And I c o u ld w ish to l i v e . |
i 1 . P R IES T. I
Our law s you w rong.
I n th e d e f e r r in g o f h e r d e a th thus lo n g . j
DARIUS. I
S ince l i v e s , and law s depend upon my b r e a th , 330 |
He m eets h is own, t h a t does b u t name h e r d e a th . '
1 . PR IEST. I
G re a t S ir , you do f o r g e t t h a t crown you w e a r.
DARIUS. ;
'T is t r u e , I do; and s c e p te rs s ac re d a r e .
A c t you my p a r t , w h ile I a v e r t my e y e s ;
My p i t y s h a ll pay homage when she d ie s , 335 j
And s in c e she s u ffe r s f o r my e m p ire 's s a k e , |
A M o n a rc h 's te a r s ;
j P a r t o f t h a t r o y a l s a c r if ic e s h a ll m ake. I
Î
I 1 . P R IES T. ;
! Now, E x e c u tio n e r - - i
3 1 6 . la m b e n t] p la y in g l i g h t l y on o r o v e r a s u rfa c e
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92
E n te r P re x a s p e s , le d i n by G u a rd s .
I
I PREXASPES.
! H o ld , S i r , t i l l I
j W i l l g iv e you le a v e to s t r i k e , and h e r to d ie .
I 1 . GUARD.
I He fro m th e p r is o n an escape has w ro u g h t,
I B u t we s u rp ris e d him in h is f l i g h t , and b ro u g h t
Him h e re b e fo r e y o u .
340
350
P o in ts to Mandana,
IPREXASPES.
T h in k you a p r is o n c o u ld my power c o n t r o l, 345
! When em p ire was to o n a rro w f o r my so u l?
' I fro m y o u r c h a in s . S i r , have m y s e lf s e t f r e e ,
; To t e l l y o u , you ascend y o u r th ro n e by me.
I B u t be n o t p ro u d , n o r th in k P rexasp es has
I On you a lo n e c o n fe rre d h is a c ts o f g r a c e .
! To show th e w o rld t h a t I am c o m p la is a n t.
H e r l i f e I as my g ra c io u s fa v o r g r a n t . ___________
! F o r i t s h a ll n e v e r be s a id a woman's name
U surped P re x a s p e s ' tre a s o n s , o r h is fa m e .
A woman s h a ll n o t my g r e a t r i v a l b e ; 355
j The f a t e o f k in g s o n ly b e lo n g s to me.
i Cam byses, A g ia sis , and S m erd is, a l l
! Those p a g e a n t p rin c e s by my hand d id f a l l .
I And had n o t fo r tu n e my a m b itio n c ro s s e d ,
I You had y o u r liv e s to o w ith y o u r em p ire l o s t . 360
j 'T i s t r u e , y o u r law s r e q u ir e my b lo o d , b u t know
I ' l l ro b you o f th e honor o f t h a t b lo w .
H ig h s p i r i t s have t h is r e fu g e . S i r , and I ,
! My g re a tn e s s and my pow er e x p ir e d , can d i e .
i B u t he who d id th e f a t e o f k in g s command, 365
I Does s co rn to f a l l by any common h and.
I S in c e my l i f e was u n a c t iv e , fame s h a ll t e l l
I N o t how P rex a sp e s l i v e d , b u t how he f e l l . Draws h is d a g g e r.
: Thus he y o u r g re a tn e s s , and y o u r power d e f ie s ;
I And th u s P rex a sp e s by P rexasp es d ie s . S tabs h im s e lf .
and f a l l s .
DARIUS.
Thus may a l l t r a i t o r s f a l l .
PREXASPES.
Ye g o d s, I come;
F o r s in c e th e w o rld c o u ld n o t a f f o r d me room.
S in c e a l l th e b a r r e n f a t e s c o u ld n o t s u p p ly
My hand w ith b lo o d , I ' l l mount in t o th e sky 375
And hang a b la z in g com et i n th e a i r .
T h a t th u s th e w o rld me when I'm dead may f e a r .
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93
I W h ile o v e r th e e a r t h new h o rro rs I c o n tr a c t ,
! S t i l l th r e a te n in g , w hat I can n o t l i v e to a c t . D ie s .
I DARIUS. I
T h is m ig h ty w ork o f f a t e we must a d m ire , 380 j
I Thus th e gods g u ard th o s e v ir t u e s th e y i n s p ir e . |
I H is b lo o d thus s p i ll e d has t h is k in d j u s t ic e done, |
I t saves y o u r l i f e , and p u n ish es h is own. To M andana. |
i Thus b ru is e d s c o rp io n s t h is v ir t u e h a v e , |
I They y ie l d a c u re to th e same wounds th ey g a ve . 385 |
i B u t whence, S i r , does y o u r s tra n g e a llia n c e s p rin g ? ;
i i
I THERAMNES. i
S i r , I was son to th e l a t e S y ria n k in g , |
B ro th e r to th e b ra v e A m asis. My name i
; I s In ta p h e m e s . |
iDARIUS. I
I I have h e a rd h is fa m e . 390 i
W hat cau se. S i r , was i t ; and w hat happy chance i
T h a t made you to th e P e rs ia n c o u rt advance?
!
IINTAPHERNES.
I t w as, g r e a t S i r , reven g e and h o n o r's charm s. i
I My i l l success a g a in s t Cambyses' arms 1
I I n th e S y ria n w a rs , where my d e a r f a t h e r 's b lo o d 395 j
Was s p i ll e d , and m ixed among th e common f lo o d , I
I My army v a n q u is h e d , and h is em pire l o s t , |
1 And a l l th e hopes o f my s u cc e ss io n c ro s s e d ,
I I saw Cambyses w ith my la u r e ls crow ned. i
i No o th e r means f o r my reven g e b e in g fo u n d , 400 :
I came to P e r s ia in a borrow ed name,
I To r i g h t my w rongs, and to r e p a ir my fam e. |
i My a c ts o f c h iv a lr y , and m a r t ia l s p o r t, i
! I found a c q u a in ta n c e in th e P e rs ia n c o u r t; i
I W ith P a ta s ith e s I a ll i a n c e g a in e d , 405 I
j Who had th e P e rs ia n governm ent o b ta in e d ,
j D u rin g Cambyses' t r a v e l s . Him I won |
j To p la c e Cambyses' b r o th e r in th e th r o n e . j
I He in co m p lian ce th e d e s ig n em braced, i
j B u t in th e th ro n e he h is own kinsm an p la c e d . 410
I Who in t h a t b o rro w ed name to th e em pire c lim b s ,
j M aking my sword a p a tro n to h is c rim e s ,
i And by t h a t c h e a t abused th e w o rld , and me,
I D e lu d in g b o th o u r f a i t h s and l o y a l t y .
I
I DARIUS.
! S in ce laws o f m onarchy so r i g i d a r e , 415
I T h a t in my th ro n e my fr ie n d s f o r b id to s h a re ;
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
A c c e p t an em p ire in my b r e a s t - - and h e r e .
And may o u r r o y a l s i s t e r in y o u r lo v e ,
As happy as I in y o u r f r ie n d s h ip p ro v e .
OTANES.
Y o u r w o rth , b ra v e In ta p h e m e s , makes h e r y o u rs ,
INTAPHERNES.
Madam - -
94
G ive s him O r in d a .
420
;ORINDA.
j O b ed ien ce my c o n s e n t p ro c u re s .
; Y e t though a f a t h e r , and a ,b r o t h e r to o .
Have b o th bestow ed me as a g i f t on y o u .
I in t h a t g i f t m ust g r a n t th e n o b le r p a r t ;
! They g iv e O rin d a , I O rin d a *s h e a r t .
iINTAPHERNES.
Y o u rs in a cro w n , in lo v e 's my h a p p in es s ;
M in e may be lo w e r . S i r , th a n y o u rs , n o t le s s .
'DA RIUS.
The S y r ia n s ' la u r e ls now s h a ll fa d e no m ore;
I Y o u r m e r its do y o u r r a v is h e d crow n r e s t o r e .
And f o r —
Those wrongs Cambyses has to E g yp t d one,
I g iv e them b a ck more th a n h is arms e re won.
Y o u r s e lf I to y o u r th ro n e r e s t o r e . Thus f a t e
I O rd a in s t h a t g lo r y s h o u ld on b e a u ty w a i t .
; O S IR IS .
I Do you remember now y o u r vow s, and lo ve?
!MANDANA.
; L o v e , o f a l l c rim e s , c an n o t f o r g e t f u l p ro v e .
I S in c e th u s my c a lm e r f a t e s r e s t o r e my cro w n ,
! Now th e gods s m ile , Mandana c a n n o t fro w n .
' Honor and lo v e now b o th p e rfo rm t h e i r p a r t ,
1 I g iv e an e m p ire w here I g iv e a h e a r t .
425
To D a r iu s .
To In ta p h e r n e s .
To M andana.
435
440
jOTANES.
Though f o r y o u r s a k e , I do a th ro n e d is d a in .
Y e t my p o s t e r it y w ith y o u rs s h a ll r e ig n .
And i n y o u r h e ir s y o u r b lo o d s h a ll m ix w ith m ine.
As d iv e r s fo u n ta in s in one c u r r e n t j o i n .
T h is to my fame th e o n ly g lo r y b r in g s .
N o t to w ear crow n s, b u t have a ra c e o f k in g s .
To D a r iu s .
445
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95
DARIUS.
And t h i s my g lo r y I m ust own
A d o p ted to y o u r b lo o d , and to a th r o n e .
A l l t h a t I am, y o u r b e a u ty r a is e d me t o ;
I to a crow n a s p ir e to m e r it y o u .
Thus to a th ro n e no common ways I m ove.
O th e rs r i s e by a m b itio n , I by lo v e .
To P h ed im a.
E x e u n t a l l .
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EPILOGUE
The P e r s ia n law s now cease to seem s e v e re ;
You h ave more c r u e l law s t h a t g o v e rn h e r e .
Y o u r u n d is p u te d p o w e r, who ju d g e s f i t ,
To s e n te n c e a l l th e tre s p a s s e s o f w i t .
How can o u r a u th o r th e n h is doom r e c a ll?
He knows he m ust u n d e r y o u r j u s t i c e f a l l ;
B e in g g u i l t y o f so c a p i t a l a c r im e .
As s h ed d in g so much human b lo o d in rh ym e.
Am ongst you w its such m o nstrous f a c t io n s ra g e .
Such v a r io u s c e n s u re s , t h a t ' t i s th o u g h t th e s ta g e
B re ed s more o p in io n s , and p ro d u ces f a r
M ore h e r e s ie s th a n th e l a t e C i v i l W a r.
N a y , p o e ts to o th e m s e lv e s , o f l a t e , th e y s a y .
The g r e a t e s t H e c to rs a re t h a t e re h u ff e d p la y .
L ik e th e is s u e o f th e d ra g o n 's t e e t h , one b r o th e r
I n a p o e t ic f u r y f a l l s on th e o t h e r .
'T i s th o u g h t y o u ' l l grow to t h a t e xc e ss o f r a g e .
T h a t Ben had n eed come g u a rd ed to th e s ta g e .
N a y , you have fo u n d a m ost com pendious way
O f dam ning now, b e fo r e you see th e p la y .
B u t m augre a l l y o u r s p i t e , p o e ts o f l a t e
S tan d s t o u t ly u n co n cern ed a t t h e i r p l a y 's f a t e ;
P r o v id e d , ' t i s t h e i r d e s t in y to g a in .
L ik e th e fam ed R o y a l S la v e , a t h i r d d a y 's r e ig n .
Th en s a c r i f i c e them as you p le a s e .
B u t i f y o u ' l l be so p r o d ig a l to g iv e
O ur saucy s c r ib b le r a th r e e d a y 's r e p r ie v e .
He im p u d e n tly sw ears h e ' l l b o ld ly su e.
When y o u r h a n d 's i n , to beg y o u r p a rd o n to o .
I f t h i s , h is f i r s t , b u t p ro s p e ro u s ly h i t .
And escap e th o s e ro c k s w here he sees o th e r s s p l i t ;
He vows h e ' l l w r it e once m o re, o n ly to show
W hat y o u r k in d f a v o r 's in f lu e n c e can d o .
F a i t h , f o r once g r a n t i t , t h a t th e w o rld may say
Y o u r s m ile s have b e en th e a u th o rs o f a p la y .
10 !
15 !
20 I
25
30 I
33 !
F IN IS .
21. m a u g re ] in s p it e o f .
2 4 . R o y a l S la v e J A r e fe r e n c e to
th e g r e a t success o f W illia m C a r t
w r ig h t 's The R o y a l S la v e ( 1 6 3 6 ) .
96
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APPEND IXES
r
97
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APPENDIX A
POSTSCRIPT TO 1671 EDITION
98
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APPENDIX A
POSTSCRIPT TO THE 1671 EDITION
I would not be so ungrateful to the memory of the dead
as not to acknowledge that my fellow student had some hand
with me in the beginning of this tragedy; but, dying six
months before the finishing of the play, he did not live to
see two acts complete. Nor are there sixty lines of his
remaining, which little concern has in the thoughts of some
given him a title to the whole. And 'tis the pleasure of
others to accuse me of stealing out of an old obsolete
tragi-comedy called Cambyses, King of Persia, a play which
I had never heard of till this had been acted. But, how
ever, those that have seen that may find that I might have
borrowed better language from Stemhold and Hopkins.
FINIS.
Postscript appears only in Ql. See Introduction, p. xxiii,
99
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APPENDIX B
THE PROLOGUE TO CAMBYSES AT OXFORD, 1672
100
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\ APPENDIX B
THE PROLOGUE TO CAMBYSES AT OXFORD, 1672
Spoken by B e tte r to n in a r id in g h a b it .
You need n o t wonder why we change o u r s p h e re .
Y our in flu e n c e has made us w a n d e re rs .
Y o u r g ra c io u s a s p e c t's power e x te n d s so f a r .
You see i t can t r a n s p la n t a t h e a t e r .
I t ' s t h is t h a t b rin g s us to th e O xfo rd s ta g e ;
D e v o tio n is th e w ife o f p ilg r im a g e .
And to w hat n o b le r f e a t can we r e s o t ,
Than h e r e , where r e ig n th o se muses w hich we c o u r t.
O x fo rd , whose s ac re d power c re a te s u s , th u s ,
'T is O xfo rd makes those p o s ts t h a t make u s .
And th e r e fo r e we do f o r y o u r welcome s u e.
N o t o n ly as y o u r g u e s ts , b u t c re a tu r e s to o .
T h is makes us y o u r p e t i t i o n e r s . B u t h o ld .
We beg new fa v o rs and f o r g e t th e o ld .
Y our l a s t fo n d e n te rta in m e n t was so g r e a t .
We may acknow ledge b u t n o t pay th e d e b t.
When from y o u r s m ile s such honors we c o n tr a c te d ,
We seemed to be those m onarchs w hich we a c te d ;
F o r y o u r h ig h k in d n es s es excess c o n v in c e s .
Y our s m ile s make f a v o r it e s , b u t y o u r h e a r ts make p r in c e s .
And th e r e fo r e as yo u r r i g h t you sh o u ld e x a c t
O ur t r ib u t a r y th an ks f o r y o u r l a s t a c t .
And j u s t l y now we may e x p e c t to f i n d .
S in ce you have once been s o , y o u ' l l s t i l l be k in d .
In c o n s ta n c y 's a p a s s io n th a t in tr u d e s
In t o th e b re a s ts o f u n ta u g h t m u lt it u d e s .
The fa v o rs o f g r e a t w its a re f ir m and s t a id .
A nd, l i k e y o u r own fr e s h la u r e l s , n e v e r fa d e .
From t h is assu ran ce we p e rfo rm to d a y .
T h a t we have c o n fid e n c e to a c t a p la y .
B ut now m e th in k s some s e rio u s judgm ent says
What has a solem n a c t to do w ith p la y s .
By th e same law we f o r t h a t r i g h t c o n te s t.
As mummers p le a d a d m is s io n to a f e a s t .
Our com ic fa c e s w i l l some p le a s u re add;
You make th e t r e a t , and we th e m asquerade.
B ut th e n o u r house w ants ornam ent and s ce n e .
W hich th e c h ie f g ra n d e u r o f a p la y m a in ta in .
B ut to excuse t h is w a n t, we m ust c o n fe s s .
We a re b u t t r a v e l l e r s in a r id in g d re s s .
ELKANAH SETTLE,
10
15
20 1
25 I
30 ;
35 i
40
101
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APPENDIX C
PLOT SYNOPSIS OF CAMBYSES
102
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103
APPENDIX C
PLOT SYNOPSIS OF CAMBYSES
Cambyses is a tragedy founded upon supposed events in
the reign of the Persian King. In this play, the action
begins when the King returns home from his successful con
quests of Syria and Egypt. He has brought home with him,
as captives, the young Prince Osiris and his betrothed,
the Egyptian Princess Mandana, whom Cambyses loves. Ther
amnes, son of the late King of Syria, had come to Persia
during Cambyses' campaign in Egypt, had induced Patasithes,
deputy of Persia in Cambyses' absence, to support the im
postor Smerdis in the usurpation of the throne, had been
made general of the usurper's army, and had privately fal
len in love with Orinda, daughter of Prince Otanes, heir to
; the Persian crown. Orinda's sister, Phedima, who is loved
: by Prince Darius, a General in Cambyses* army, is loved
I also by Smerdis, who thinks that Theramnes, his general and
I
I friend, loves Phedima. While Cambyses prepares to attack
!Smerdis, and the armies are waiting, the action shifts from
I Cambyses' camp to the palace at Susa where Smerdis is en
trenched, and back again. Many scenes of love-making fol
low in which Cambyses pleads for Mandana's love, Smerdis
I for Phedima's. Smerdis also tricks Theramnes and forces
him into a duel with Darius. Prexaspes, the arch-plotter
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104
and confidant of Cambyses, having been promised the Syrian
crown by Smerdis, turns against Cambyses and stabs him; he
lays the guilt on Mandana because she had refused her love
to him. Made commanding general by Smerdis, he imprisons
the King's commanders, Otanes and Djarius, whom he means to
kill, and plans to have himself proclaimed King. But when
the day arrives for the execution of the generals, Theram
nes, who was believed killed in the duel with Darius, ap
pears disguised as Executioner. He refuses to obey Prexas
pes, whom he binds, and releases the prisoners. Smerdis is
then killed. Darius, who is proclaimed King, weds Phedima.
Theramnes is rewarded with Orinda's love and his kingdom of
Syria. Prexaspes confesses the murder of Cambyses and stabs
himself. Mandana receives her rightful kingdom of Egypt
and marries Osiris. Thus the play ends : virtue is reward
ed, vice is punished, and love and heroism prevail.
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Barsam, Richard Meran
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A Critical Edition Of Elkanah Settle'S 'Cambyses, King Of Persia'
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Doctor of Philosophy
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English
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committee chair
), Butler, James H. (
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