Hear music; but what most he takes delight in
Are handsome pictures.”[92:1]
His melancholy apparently began at his father’s death and was increased by the disappearance of Eroclea. We need not stay long over him. Corax, who is apparently a man of many theories and much resource, presents the Prince with a Masque,[92:2]—already mentioned—in which madmen of various sorts pass over the stage and make speeches. The last of these persons is Palador’s lost love in disguise who appears as “Love-Melancholy.” How far the Prince’s malady is relieved by this is uncertain; but the form of “Parthenophil” arouses memories and the re-appearance of Eroclea in the next act is the real “potent” which restores the melancholy lover.
The madness of Meleander, Eroclea’s father, is more interesting. He has, so far as we know, no sort of predisposition to insanity, which comes upon him following a cloud of troubles—he has been accused of treason, his lands have
been seized and his daughter has disappeared. We are informed by our physician that his affliction is not madness; it is
“His sorrows—
Close-griping grief and anguish of the soul—
That torture him.”[93:1]
Yet we can find in Meleander all those “signs” which by now we are beginning to associate with insanity. The unfortunate man “sleeps like a hare, with his eyes open,” he groans, “thunders” and “roars,” and his “eyes roll.” He talks wildly, yet at times coherently, knows his daughter Cleophila, enquires “Am I stark mad?” His maniacal excitability displays itself in his laughter, “the usher to a violent extremity.”[93:2] The reaction soon follows; he faces those about him and remarks:
“I am a weak old man; all these are come