It is observable, that in this play Massinger has attempted the more difficult part of dramatic writing. He is not content with describing different qualities in his characters; but lays before the reader several differences of the same qualities. The courage of Gonzaga, though by no means inferior to it, is not that of Bertoldo. In the former, it is a fixed and habitual principle, the honourable business of his life. In the latter, it is an irresistible impulse, the instantaneous result of a fiery temper. There is still another remove; and these branches of real courage differ from the poor and forced approaches to valour in Gasparo and Antonio. A broader distinction is used with his two courtiers; and the cold interest of Astutio is fully contrasted with the dazzling and imprudent assumption of Fulgentio. But Camiola herself is the great object that reigns throughout the piece. Every where she animates us with her spirit, and instructs us with her sense. Yet this superiority takes nothing from her softer feelings. Her tears flow with a mingled fondness and regret; and she is swayed by a passion which is only quelled by her greater resolution. The influence of her character is also heightened through the different manner of her lovers; through the mad impatience of the uncontrolled Bertoldo, the glittering pretensions of Fulgentio, and the humble and sincere attachment of Adorni, who nourishes secret desires of a happiness too exalted for him, faithfully performs commands prejudicial to his own views, through the force of an affection which ensures his obedience, and, amidst so much service, scarcely presumes to hint the passion which consumes him. I know not if even signior Sylli is wholly useless here; he serves at least to show her good-humoured toleration of a being hardly important enough for her contempt.
In the midst of this just praise of Camiola, there are a few things to be regretted. Reason and religion had forbidden her union with Bertoldo; and she had declared herself unalterable in her purpose. His captivity reverses her judgment, and she determines not only to liberate, but to marry him. Unfortunately too she demands a sealed contract as the condition of his freedom; though Bertoldo's ardour was already known to her, and the generosity of her nature ought to have abstained from so degrading a bargain. But Massinger wanted to hinder the marriage of Aurelia; and, with an infelicity which attends many of his contrivances, he provided a prior contract at the expense of the delicacy, as well as the principles of his heroine. It is well, that the nobleness of the conclusion throws the veil over these blemishes. Her determination is at once natural and unexpected. It answers to the original independence of her character, and she retires with our highest admiration and esteem.
It may be observed here, that Massinger was not unknown to Milton. The date of some of Milton's early poems, indeed, is not exactly ascertained; but if the reader will compare the speech of Paulo, with the Penseroso, he cannot fail to remark a similarity in the cadences, as well as in the measure and the solemnity of the thoughts. On many other occasions he certainly remembers Massinger, and frequently in his representations of female purity, and the commanding dignity of virtue.
A noble lesson arises from the conduct of the principal character. A fixed sense of truth and rectitude gives genuine superiority; it corrects the proud, and abashes the vain, and marks the proper limits between humility and presumption. It also governs itself with the same ascendancy which it establishes over others. When the lawful objects of life cannot be possessed with clearness of honour, it provides a nobler pleasure in rising above their attraction, and creates a new happiness by controlling even innocent desires.
TO
MY MOST HONOURED FRIENDS,
SIR FRANCIS FOLJAMBE, KNT. AND BART.
AND
SIR THOMAS BLAND, KNT.
That you have been, and continued so for many years, since you vouchsafed to own me, patrons to me and my despised studies, I cannot but with all humble thankfulness acknowledge: and living, as you have done, inseparable in your friendship, (notwithstanding all differences, and suits in law arising between you[132],) I held it as impertinent as absurd, in the presentment of my service in this kind, to divide you. A free confession of a debt, in a meaner man, is the amplest satisfaction to his superiors; and I heartily wish that the world may take notice, and from myself, that I had not to this time subsisted, but that I was supported by your frequent courtesies and favours. When your more serious occasions will give you leave, you may please to peruse this trifle, and peradventure find something in it that may appear worthy of your protection. Receive it, I beseech you, as a testimony of his duty who, while he lives, resolves to be
truly and sincerely devoted to your service,
PHILIP MASSINGER.
DRAMATIS PERSONÆ.
| Roberto, king of Sicily. | ||
| Ferdinand, duke of Urbin. | ||
| Bertoldo, the king's natural brother, a knight of Malta. | ||
| Gonzaga, a knight of Malta, general to the duchess of Sienna. | ||
| Astutio, a counsellor of state. | ||
| Fulgentio, the minion of Roberto. | ||
| Adorni, a follower of Camiola's father. | ||
| Signior Sylli, a foolish self-lover. | ||
| Antonio, Gasparo, | } | two rich heirs, city-bred. |
| Pierio, a colonel to Gonzaga. | ||
| Roderigo, Jacomo, | } | captains to Gonzaga. |
| Druso, Livio, | } | captains to duke Ferdinand. |
| Father Paulo, a priest, Camiola's confessor. | ||
| Ambassador from the duke of Urbin. | ||
| A Bishop. | ||
| A Page. | ||
| Aurelia, duchess of Sienna. | ||
| Camiola, the Maid of Honour. | ||
| Clarinda, her woman. | ||
| Scout, Soldiers, Gaoler, Attendants, Servants, &c. | ||
SCENE, partly in Sicily, and partly in the Siennese.