The Great Duke of Florence.] This play, under the title of The Great Duke, was licensed by Sir Henry Herbert, July 5th, 1627. The plot is raised on those slight materials afforded by our old chroniclers in the life of Edgar, which Mason has since worked up into the beautiful drama of Elfrida.
The first edition of this play was published 1636, when it was preceded by two commendatory copies of verses by G. Donne and J. Ford. Though highly and most deservedly popular, it was not reprinted. This may be attributed, in some measure, to the growing discontent of the times, which perversely turned aside from scenes like these, to dwell with fearful anxiety on those of turbulence and blood.—It is impossible not to be charmed with the manner in which this play is written. The style is worthy of the most polished stage. An easy elevation and a mild dignity are preserved throughout, which afford an excellent model for the transaction of dramatic business between persons of high rank and refined education. As to the subject, it is of itself of no great importance; but this is somewhat compensated by the interest the principal characters take in it, and the connexion of love with the views of state.—The scenes between Giovanni and Lidia present a most beautiful picture of artless attachment, and of that unreserved innocence and tender simplicity which Massinger describes in so eminently happy a manner. Were it not for the scene of low buffoonery in the fourth act, where Petronella assumes the dress and character of her mistress, The Great Duke of Florence would have been a perfect and unrivalled production.
TO
THE TRULY HONOURED, AND MY NOBLE FAVOURER,
SIR ROBERT WISEMAN, KNT.[59]
OF THORRELL'S HALL, IN ESSEX.
SIR,
As I dare not be ungrateful for the many benefits you have heretofore conferred upon me, so I have just reason to fear that my attempting this way to make satisfaction (in some measure) for so due a debt, will further engage me. However, examples encourage me. The most able in my poor quality have made use of dedications in this nature, to make the world take notice (as far as in them lay) who and what they were that gave supportment and protection to their studies; being more willing to publish the doer, than receive a benefit in a corner. For myself, I will freely, and with a zealous thankfulness, acknowledge, that for many years I had but faintly subsisted, if I had not often tasted of your bounty. But it is above my strength and faculties to celebrate to the desert your noble inclination, and that made actual, to raise up, or, to speak more properly, to rebuild the ruins of demolished poesie. But that is a work reserved, and will be, no doubt, undertaken, and finished, by one that can to the life express it. Accept, I beseech you, the tender of my service; and in the list of those you have obliged to you, contemn not the name of
Your true and faithful honourer,
PHILIP MASSINGER.
DRAMATIS PERSONÆ.
| Cozimo, Duke of Florence. | ||
| Giovanni, nephew to the duke. | ||
| Sanazarro, the duke's favourite. | ||
| Carolo Charomonte, Giovanni's tutor. | ||
| Contarino, secretary to the duke. | ||
| Alphonso, Hippolito, Hieronimo, | } | counsellors of state. |
| Calandrino, a merry fellow, servant to Giovanni. | ||
| Bernardo, Caponi, Petruchio, | } | servants to Charomonte. |
| A Gentleman. | ||
| Fiorinda, Duchess of Urbin. | ||
| Lidia, daughter to Charomonte. | ||
| Calaminta, servant to Fiorinda. | ||
| Petronella, a foolish servant to Lidia. | ||
| Attendants, Servants, &c. | ||
SCENE, partly in Florence, and partly at the residence of Charomonte in the country.