Mercury. Stay, stay!

  95 Stay light-foot Iris, for thou strivest in vain,

  My wings are nimbler than thy feet.

  Iris. Away,

  Dissembling Mercury; my messages

  Ask honest haste, not like those wanton ones

  Your thund’ring father sends.

  Mercury. Stay foolish maid,

  100 Or I will take my rise upon a hill,

  When I perceive thee seated in a cloud

  In all the painted glory that thou hast,

  And never cease to clap my willing wings

  Till I catch hold of thy discolour’d bow,

  105 And shiver it beyond the angry power

  Of your curst mistress to make up again.

  Iris. Hermes forbear, Juno will chide and strike;

  Is great Jove jealous that I am employ’d

  On her love-errands? she did never yet

  110 Clasp weak mortality in her white arms,

  As he hath often done: I only come

  To celebrate the long-wish’d nuptials,

  Here in Olympia, which are now perform’d

  Betwixt two goodly rivers, which have mix’d

  115 Their gentle-rising waves, and are to grow

  Into a thousand streams, great as themselves;

  I need not name them, for the sound is loud

  In heaven and earth; and I am sent from her,

  The queen of marriage, that was present here,

  120 And smil’d to see them join, and hath not chid

  Since it was done: good Hermes let me go.

  Mercury. Nay you must stay; Jove’s message is the same,

  Whose eyes are lightning, and whose voice is thunder,

  Whose breath is any wind he will, who knows

  125 How to be first on earth as well as heaven.

  Iris. But what hath he to do with nuptial rites?

  Let him keep state upon his starry throne,

  And fright poor mortals with his thunderbolts,

  Leaving to us the mutual darts of eyes.

  130 Mercury. Alas, when ever offer’d he t’abridge

  Your lady’s power, but only now in these,

  Whose match concerns his general government?

  Hath not each god a part in these high joys?

  And shall not he, the king of gods, presume

  135 Without proud Juno’s licence? Let her know

  That when enamour’d Jove first gave her power

  To link soft hearts in undissolved bonds,

  He then foresaw, and to himself reserv’d

  The honour of this marriage: thou shalt stand

  140 Still as a rock, while I, to bless this feast,

  Will summon up with my all-charming rod

  The Nymphs of fountains, from whose wat’ry locks,

  Hung with the dew of blessing and increase,

  The greedy rivers take their nourishment.

  145 You Nymphs, who bathing in your loved springs,

  Beheld these rivers in their infancy,

  And joy’d to see them, when their circled heads

  Refresh’d the air, and spread the ground with flowers:

  Rise from your wells, and with your nimble feet

  150 Perform that office to this happy pair,

  Which in these plains you to Alpheus did,

  When passing hence through many seas unmix’d,

  He gain’d the favour of his Arethuse.

  Immediately upon which speech, four Naiads arise gently out of their 155 several fountains, and present themselves upon the stage, attired in long habits of sea-green taffeta, with bubbles of crystal intermixed with powdering of silver, resembling drops of water, bluish tresses, on their heads garlands of water-lilies. They fall into a measure, dance a little, then make a stand.

  160 Iris. Is Hermes grown a lover? by what power,

  Unknown to us, calls he the Naiades?

  Mercury. Presumptuous Iris, I could make thee dance

  Till thou forgott’st thy lady’s messages,

  And rann’st back crying to her; thou shalt know

  165 My power is more: only my breath, and this,

  Shall move fix’d stars, and force the firmament

  To yield the Hyades, who govern showers

  And dewy clouds, in whose dispersed drops

  Thou form’st the shape of thy deceitful bow.

  170 You maids, who yearly at appointed times

  Advance with kindly tears the gentle floods,

  Descend, and pour your blessing on these stream.

  Which rolling down from heaven-aspiring hills,

  And now united in the fruitful vales,

  175 Bear all before them, ravish’d with their joy,

  And swell in glory till they know no bounds.

  Five Hyades descend softly in a cloud from the firmament to the middle part of the hill, apparelled in sky-coloured taffeta robes, spangled like the heavens, golden tresses, and each a fair star on their head; from 180 thence descend to the stage, at whose sight the Naiads seeming to rejoice, meet and join in a dance.

  Iris. Great wit and power hath Hermes, to contrive

  A lifeless dance, which of one sex consists.

  Mercury. Alas poor Iris, Venus hath in store

  185 A secret ambush of her winged boys,

  Who lurking long within these pleasant groves,

  First struck these lovers with their equal darts;

  Those Cupids shall come forth, and join with these,

  To honour that which they themselves begun.

  190 Enter four Cupids from each side of the boscage, attired in flame-coloured taffeta close to their body like naked boys, with bows, arrows, and wings of gold, chaplets of flowers on their heads, hoodwinked with tiffany scarfs; who join with the Nymphs and the Hyades in another dance. That ended, Mercury speaks.

  195 Mercury. Behold, the Statues which wise Vulcan plac’d

  Under the altar of Olympian Jove,

  And gave to them an artificial life,

  Shall dance for joy of these great nuptials:

  See how they move, drawn by this heavenly joy,

  200 Like the wild trees which follow’d Orpheus’ harp.

  The Statues enter, supposed to be before descended from Jove’s altar, and to have been prepared in the covert with the Cupids, attending their call.

  These Statues were attired in cases of gold and silver close to their body, faces, hands and feet, nothing seen but gold and silver, as if they 205 had been solid images of metal, tresses of hair as they had been of metal embossed, girdles and small aprons of oaken leaves, as if they likewise had been carved or moulded out of the metal: at their coming, the music changed from violins to hoboys, cornets, etc. And the air of the music was utterly turned into a soft time, with drawing notes, excellently expressing 210 their natures, and the measure likewise was fitted unto the same, and the Statues placed in such several postures, sometimes all together in the centre of the dance, and sometimes in the four utmost angles, as was very graceful besides the novelty. And so concluded the first anti-masque.

  Mercury. And what will Juno’s Iris do for her?

  215 Iris. Just match this show, or my invention fails;

  Had it been worthier, I would have invok’d

  The blazing comets, clouds, and falling stars,

  And all my kindred meteors of the air,

  To have excell’d it, but I now must strive

  220 To imitate confusion: therefore thou,

  Delightful Flora, if thou ever felt’st

  Increase of sweetness in those blooming plants

  On which the horns of my fair bow decline,

  Send hither all the rural company,

  225 Which deck the May-games with their country sports,

  Juno will have it so.

  The second anti-masque rush in, dance their measure, and as rudely depart: consisting of

  A Pedant,

  May Lord, May Lady, 230

  Servingman, Chambermaid,

  A Country Clown, or Shepherd, Country Wench,

  An Host, Hostess,

  A He-Baboon, She-Baboon,

  A He-Fool, She-Fool, ushering them in. 235

  All these persons apparelled to the life, the men issuing out of one side of the boscage, and the women from the other; the music was extremely well fitted, having such a spirit of country jollity as can hardly be imagined, but the perpetual laughter and applause was above the music.

  240 The dance likewise was of the same strain, and the dancers, or rather actors, expressed every one their part so naturally and aptly, as when a man’s eye was caught with the one, and then passed on to the other, he could not satisfy himself which did best. It pleased his Majesty to call for it again at the end, as he did likewise for the first anti-masque, 245 but one of the Statues by that time was undressed.

  Mercury. Iris, we strive

  Like winds at liberty, who should do worst

  Ere we return. If Juno be the queen

  Of marriage, let her give happy way

  250 To what is done, in honour of the state

  She governs.

  Iris. Hermes, so it may be done

  Merely in honour of the state, and these

  That now have prov’d it, not to satisfy

  The lust of Jupiter in having thanks

  255 More than his Juno, if thy snaky rod

  Have power to search the heavens, or sound the sea,

  Or call together all the ends of earth,

  To bring in anything that may do grace

  To us, and these; do it, we shall be pleas’d.

  260 Mercury. Then know that from the mouth of Jove himself,

  Whose words have wings, and need not to be borne,

  I took a message, and I bare it through

  A thousand yielding clouds, and never stay’d

  Till his high will was done: the Olympian games

  265 Which long have slept, at these wish’d nuptials

  He pleas’d to have renew’d, and all his knights

  Are gather’d hither, who within their tents

  Rest on this hill, upon whose rising head

  Behold Jove’s altar, and his blessed priests

  270 Moving about it: come you holy men,

  And with your voices draw these youths along,

  That till Jove’s music call them to their games,

  Their active sports may give a blest content

  To those, for whom they are again begun.

  The Main Masque

  275 The second traverse is drawn, and the higher ascent of the mountain is discovered, wherein, upon a level after a great rise of the hill, were placed two pavilions, open in the front of them; the pavilions were to sight as of cloth of gold, and they were trimmed on the inside with rich armour and military furniture hanged up as upon the walls, and behind 280 the tents there were represented in perspective the tops of divers other tents, as if it had been a camp. In these pavilions were placed fifteen Olympian Knights, upon seats a little embowed near the form of a croisant; and the Knights appeared first as consecrated persons, all in veils, like to copes, of silver tiffany, gathered, and falling a large 285 compass about them, and over their heads high mitres with long pendants behind falling from them: the mitres were so high that they received their hats and feathers, that nothing was seen but veil. In the midst, between both the tents upon the very top of the hill, being a higher level than that of the tents, was placed Jupiter’s altar, gilt, with 290 three great tapers upon golden candle-sticks burning upon it: and the four Statues, two of gold and two of silver, as supporters, and Jupiter’s Priests in white robes about it.

  Upon the sight of the King, the veils of the Knights did fall easily from them, and they appeared in their own habit.

  295 The Knights’ Attire

  Arming doublets of carnation satin, embroidered with blazing stars of silver plate, with powderings of smaller stars betwixt; gorgets of silver mail; long hose of the same with the doublets, laid with silver lace spangled, and enriched with embroidery between the lace; carnation 300 silk stockings embroidered all over, garters and roses suitable; pumps of carnation satin, embroidered as the doublets; hats of the same stuff and embroidery, cut like a helmet before, the hinder part cut into scallops, answering the skirts of their doublets; the bands of the hats were wreaths of silver in form of garlands of wild olives; white feathers 305 with one fall of carnation; belts of the same stuff and embroidered with the doublet; silver swords; little Italian bands and cuffs embroidered with silver; fair long tresses of hair.

  The Priests’ Habits

  Long robes of white taffeta, long white heads of hair; the High Priest a cap of white silk shag close to his head, with two labels at the ears, 310 the midst rising in form of a pyramis, in the top thereof a branch of silver; every Priest playing upon a lute: twelve in number.

  The Priests descend and sing this song following, after whom the Knights likewise descend, first laying aside their veils, belts, and swords.

  The First Song

  315 Shake off your heavy trance,

  And leap into a dance

  Such as no mortals use to tread,

  Fit only for Apollo

  To play to, for the moon to lead,

  320 And all the stars to follow.

  The Knights by this time are all descended and fallen into their place, and then dance their first measure.

  The Second Song

  On blessed youths, for Jove doth pause,

  325 Laying aside his graver laws

  For this device;

  And at the wedding such a pair,

  Each dance is taken for a prayer,

  Each song a sacrifice.

  330 The Knights dance their second measure.

  The Third Song

  Single. More pleasing were these sweet delights,

  If ladies mov’d as well as knights;

  Run ev’ry one of you and catch

  335 A nymph, in honour of this match,

  And whisper boldly in her ear.

  Jove will but laugh, if you forswear.

  All. And this day’s sins he doth resolve

  That we his priests should all absolve.

  340 The Knights take their ladies to dance with them galliards, durets, corantoes etc., and lead them to their places. Then loud music sounds, supposed to call them to their Olympian games.

  The Fourth Song

  Ye should stay longer if we durst:

  345 Away! Alas that he that first

  Gave Time wild wings to fly away,

  Hath now no power to make him stay.

  But though these games must needs be play’d,

  I would this pair, when they are laid,

  350 And not a creature nigh them,

  Could catch his scythe, as he doth pass,

  And cut his wings, and break his glass,

  And keep him ever by them.

  355 The Knights dance their parting measure and ascend, put on their swords and belts, during which time the Priests sing the fifth and last song.

  Peace and silence be the guide

  To the man, and to the bride!

  If there be a joy yet new

  In marriage, let it fall on you,

  360 That all the world may wonder!

  If we should stay, we should do worse,

  And turn our blessing to a curse,

  By keeping you asunder.

  FINIS

  APPENDIX 4

  Beaumont’s 1613 Masque and The Two Noble Kinsmen

  The masque form was very hierarchical. Participants in the main masque normally played only idealized abstractions, historical characters or figures from classical myths, and represented them through silent dancing; the serious singing and acting roles were taken by professionals, as were the comic or grotesque roles in the antimasques that normally preceded the entrance of the main masque. The flexibility of Beaumont’s plot was probably made necessary because of the constantly changing plans for the wedding that it was meant to celebrate (see Introduction, pp. 40–1). At short notice, it may have been difficult to integrate the professional antimasquers (the King’s Men and perhaps others) with the amateurs from the two Inns of Court who were financing and performing in the main masque.

  Beaumont’s solution was to have Iris and Mercury, representing Juno and Jupiter respectively, compete to present the most appropriate wedding entertainment. The first antimasque is Mercury’s: a dance of Naiads (nymphs of the springs which water the rivers), who are joined by the Hyades (nymphs of clouds and showers). To Iris’s scornful comment that a dance of one sex only is lifeless, he brings on four Cupids and then transforms four statues who take part in the final dance of the sequence. Iris, by way of a reply to what she calls the ‘confusion’ of Mercury’s offering, invites country dancers to celebrate with their May games (Beaumont perhaps devised this antimasque while the wedding celebrations were still expected to take place in May). Finally Iris and Mercury reconcile their differences, and Iris allows Mercury to present, on behalf of Jupiter, the main masque of Olympian knights.Just as Jonson had made Chivalry awake from her long sleep for Prince Henry’s Barriers in 1610, so ‘the Olympian games / Which long have slept’ are described here as ‘renew’d’ for the benefit of the wedding (265–7). The knight-masquers appear ‘as consecrated persons’ (285), and musicians dressed as priests invite them to perform their dances, first on their own and then with partners from the audience.

  From the point of view of The Two Noble Kinsmen, it would be interesting to know whether the King’s Men were allowed to keep the costumes worn in the antimasques. Costumes for nymphs, for Iris, for a ‘pedant’, and for various country people, would already have been needed for The Winter’s Tale and The Tempest and may have been in the company’s wardrobe, but it is not known how much was lost in the Globe fire. No costume designs from Beaumont’s masque survive, but Jones’s drawing of a Naiad for Daniel’s Tethys’ Festival in 1610 (Fig. 18) gives some idea of how these figures might have looked – and hence, what inspired the Wooer’s description of the Jailer’s Daughter at the edge of the lake: