A Collection of Old English Plays, Volume 2

by Unknown

INTRODUCTION TO THE TRAGEDY OF SIR JOHN VAN OLDEN BARNAVELT.

I have never met anywhere with the slightest allusion to this fine historical play, now for the first time printed from a MS.[140] in the British Museum (Add. MS. 18,653). It is curious that it should have been left to the present editor to call attention to a piece of such extraordinary interest; for I have no hesitation in predicting that Barnavelt's Tragedy, for its splendid command of fiery dramatic rhetoric, will rank among the masterpieces of English dramatic literature.

On a first rapid inspection I assumed, with most uncritical recklessness, that Chapman was the author. There are not wanting points of general resemblance between Chapman's Byron and the imperious, unbending spirit of the great Advocate as he is here represented; but in diction and versification, the present tragedy is wholly different from any work of Chapman's. When I came to transcribe the piece, I soon became convinced that it was to a great extent the production of Fletcher. There can, I think, be no reasonable doubt about the authorship of such lines as the following:—

"Barnavelt. My noble Lords, what is't appeares upon me
So ougly strange you start and fly my companie?
What plague sore have ye spide, what taynt in honour,
What ill howre in my life so cleere deserving
That rancks in this below your fellowships?
For which of all my cares, of all my watches,
My services (too many and too mightie
To find rewards) am I thus recompenced,
Not lookd on, not saluted, left forgotten
Like one that came to petition to your honours—
Over the shoulder slighted?

Bredero. Mounsieur Barnavelt,
I am sorry that a man of your great wisdom
And those rare parts that make ye lov'd and honourd,
In every Princes Court highly esteemd of,
Should loose so much in point of good and vertue
Now in the time you ought to fix your faith fast,
The credit of your age, carelessly loose it,—
dare not say ambitiously,—that your best friends
And those that ever thought on your example
Dare not with comon safetie now salute ye" (iii. 1).

Such a verse as,—

"In every Princes Court highly esteemd of,"

or,—

"Now in the time you ought to fix your faith fast,"

can belong only to Fletcher. The swelling, accumulative character of the eloquence is another proof; for Fletcher's effects are gained not by a few sharp strokes, but by constant iteration, each succeeding line strengthening the preceding until at last we are fronted by a column of very formidable strength. Let us take another extract from the same scene:—

"Barnavelt. When I am a Sychophant
And a base gleaner from an others favour,
As all you are that halt upon his crutches,—
Shame take that smoothness and that sleeke subjection!
I am myself, as great in good as he is,
As much a master of my Countries fortunes,
And one to whom (since I am forc'd to speak it,
Since mine own tongue must be my Advocate)
This blinded State that plaies at boa-peep with us,
This wanton State that's weary of hir lovers
And cryes out 'Give me younger still and fresher'!
Is bound and so far bound: I found hir naked,
Floung out a dores and starvd, no friends to pitty hir,
The marks of all hir miseries upon hir,
An orphan State that no eye smild upon:
And then how carefully I undertooke hir,
How tenderly and lovingly I noursd hir!
But now she is fatt and faire againe and I foold,
A new love in hir armes, my doatings scornd at.
And I must sue to him! be witnes, heaven,
If this poore life were forfeyt to his mercy,
At such a rate I hold a scornd subjection
I would not give a penney to redeeme it.
I have liv'd ever free, onely depended
Upon the honestie of my faire Actions,
Nor am I now to studdy how to die soe."

The whole scene is singularly fine and impressive; it shows us Fletcher at his highest.

But in other passages we find a second hand at work. In the second scene of the third act there is far less exuberance of language and a different style of versification, as may be seen in the following lines:—

"Orange. My grave Lords,
That it hath byn my happines to take in,
And with so little blood, so many Townes
That were falne off, is a large recompence
For all my travell; and I would advise
That (since all now sing the sweet tunes of Concord,
No Sword unsheathd, the meanes to hurt cut off
And all their stings pluckd out that would have usd them
Against the publique peace) we should end here
And not with labour search for that which will
Afflict us when 'tis found. Something I know
That I could wish I nere had understood,
Which yet if I should speake, as the respect
And duty that I owe my Country bids me,
It wilbe thought 'tis rather privat spleene
Then pious zeale. But that is not the hazard
Which I would shun: I rather feare the men
We must offend in this, being great, rich, wise,
Sided with strong friends, trusted with the guard
Of places most important, will bring forth
Rather new births of tumult, should they be
Calld to their Triall, then appease disorder
In their just punishment; and in doing Justice
On three or four that are delinquents, loose
So many thousand inocents that stand firme
And faithfull patriots. Let us leave them therefore
To the scourge of their owne consciences: perhaps
Th'assurance that they are yet undiscoverd,
Because not cyted to their answeare, will
So work with them hereafter to doe well
That we shall joy we sought no farther in it."

Here we have vigorous writing, staid and grave and unimpassioned, and a more regular metre. In determining questions of authorship I have so often found myself (and others, too) at fault, that I shrink from adopting the dictatorial tone assumed in these matters by learned Germans and a few English scholars. But I think in the present instance we may speak with tolerable certainty. Before my mind had been made up, my good friend, Mr. Fleay, pronounced strongly in favour of Massinger. He is, I think, right; in fact, it is beyond the shadow of a doubt that Massinger wrote the speech quoted above. In all Massinger's work there is admirable ease and dignity; if his words are seldom bathed in tears or steeped in fire, yet he never writes beneath his subject. He had a rare command of an excellent work-a-day dramatic style, clear, vigorous, free from conceit and affectation. But he is apt to grow didactic, and tax the reader's patience; and there is often a want of coherence in his sentences, which amble down the page in a series of loosely-linked clauses. I will not examine scene by scene in detail; for I must frankly confess that I feel myself sometimes at a loss to determine whether a particular passage is by Fletcher or Massinger. Most of the impassioned parts belong, I think, to the former. I would credit Massinger with the admirably conducted trial-scene in the fourth act; but the concluding scene of the play, where Barnavelt is led to execution, I would ascribe, without hesitation, to Fletcher. In the scene (v. 1) where the French ambassador pleads for Barnavelt we recognise Massinger's accustomed temperance and dignity. To the graver writer, too, we must set down Leydenberg's solemn and pathetic soliloquy (iii. 6), when by a voluntary death he is seeking to make amends for his inconstancy and escape from the toils of his persecutors.

There is no difficulty in fixing the date of the present play. Barneveld was executed on May 13, 1619, and the play must have been written immediately afterwards, when all Christendom was ringing with the news of the execution. In the third scene of the first act there is a marginal note signed "G.B." The initials are unquestionably those of Sir George Buc, Master of the Revels from 1610 to 1622.[141] On comparing the note with an autograph letter[142] of Sir George's I find the hand-writing to correspond exactly. The date, therefore, cannot be later than 1622, but the probability is that the play was produced at Michaelmas, 1619.

In our own day the great Advocate's fame, which had been allowed to fall into neglect, has been revived with splendour by Mr. Motley, whose "Life of John of Barneveld" is a monument aere perennius of loving labour, masterful grasp, and rare eloquence. Had the dramatists been in possession of a tithe of the facts brought to light from mouldering state documents by the historian, they would have regarded Barneveld's faults with a milder eye, and shown more unqualified praise for his great and noble qualities. But they are to be commended in that they saw partially through the mists of popular error and prejudice; that they refused to accept a caricature portrait, and proclaimed in unmistakable accents the nobility of the fallen Advocate. Perhaps it is not so strange that this tragedy dropped from sight. Its representation certainly could not have been pleasing to King James; for that murderous, slobbering, detestable villain had been untiring in his efforts to bring about Barneveld's ruin.

Throughout the play there are marks of close political observation. To discover the materials from which the playwrights worked up their solid and elaborate tragedy would require a more extensive investigation than I care to undertake. An account of Barneveld's trial, defence, and execution may be found in the following tracts:—

([Greek: alpha]) "Barnavel's Apologie, or Holland's Mysteria: with marginall Castigations, 1618." The Apology, originally written in Dutch, had been translated into Latin, and thence into English. The Castigations, by "Robert Houlderus, Minister of the Word of God," are remarkable, even in the annals of theological controversy, for gross blackguardism. After indulging in the most loathsome displays of foul brutality, this "Minister of the Word of God" ends with the cheerful prayer,—"That they whom Thou hast predestinated to salvation may alwayes have the upper hand and triumph in the certainty of their salvation: but they whom Thou has created unto confusion, and as vessels of Thy just wrath, may tumble and be thrust headlong thither whereto from all eternitie Thou didst predestinate them, even before they had done any good or evil."

([Greek: beta]) "Newes out of Holland: concerning Barnavelt and his fellow-Prisoners, their Conspiracy against their Native Country with the enemies thereof: The Oration and Propositions made in their behalfe unto the Generall States of the United Provinces at the Hage, by the Ambassadours of the French King," &c., 1619.

([Greek: gamma]) "The Arraignment of John Van Olden Barnavelt, late Advocate of Holland and West Freisland. Containing the articles alleadged against him and the reasons of his execution," &c., 1619.

* * * * *

"This magnificent play is mainly the production of Fletcher and Massinger: it must have been written between May, 1619, and May, 1622, for the King's company acting at Blackfriars. T[homas] Hol[combe] acted a woman's part in it: so did G. Lowin, perhaps a son of John Lowin, unless indeed G. is a miswriting for J., as sometimes happens. It is singular that one has no knowledge whatever of Thomas Holcombe, except as an actor in Fletcher's plays: although so many of the lists of the king's men of that date have come down to us. Mr. Gough who took the part of Leidenberg, is Robert Gough, not Alexander: the latter acted only in Charles I.'s time. Another actor, Michael, is unknown: probably a super."—F.G. FLEAY.

Since the above paragraph was written, I have found in the MS. the names of three more actors, Jo[hn] Rice, Bir[ch], and T[homas] Po[llard]. The following note, for which I am indebted to Mr. Fleay, will be read with interest:—"It is noticeable that a play called the Jeweller of Amsterdam or the Hague, by John Fletcher, Nathaniel Field, and Phillip Massinger, was entered on the Stationers' Books 8th April, 1654, but not printed. This play must have been written between 1617 and 1619, while Field was connected with the King's company, and undoubtedly referred to the murder of John Van Wely, the Jeweller of Amsterdam, by John of Paris, the confidential groom of Prince Maurice, in 1619. It is primâ facie likely that the same authors would be employed on both plays. Field, Daborne, Dekker and Fletcher are the only authors known to have written in conjunction with Massinger; and Dekker and Daborne are out of the question for that company at that date. We are now enabled to fix the date of the 'Fatal Dowry,' by Field and Massinger, as c. 1618."