Of high displeasure that ensewen might, Commaunded them their fury to refraine; And, if that either to that shield had right, In equall lists they should the morrow next it fight. XLI "Ah, dearest Dame," quoth then the Paynim bold, "Pardon the error of enraged wight, Whome great griefe made forgett the raines to hold Of reasons rule, to see this recreaunt knight, No knight, but treachour full of false despight And shameful treason, who through guile hath slayn The prowest knight that ever field did fight, Even stout Sansfoy, (O who can then refrayn?) Whose shield he beares renverst,2 the more to heap disdayn. XLIII But threw his gauntlet, as a sacred pledge His cause in combat the next day to try: So been they parted both, with harts on edge To be aveng'd each on his enimy. For Steward was excessive Gluttony, XLIV Now whenas darkesome night had all displayd Her coleblacke curtein over brightest skye; The warlike youthes, on dayntie couches layd, Did chace away sweet sleepe from sluggish eye, To muse on meanes of hoped victory. But whenas Morpheus had with leaden mace Arrested all that courtly company, Uprose Duessa from her resting place, And to the Paynims lodging comes with silent pace. XLV Whom broad awake she findes, in troublous fitt, Fore-casting how his foe he might annoy; And him amoves with speaches seeming fitt: "Ah deare Sansjoy, next dearest to Sansfoy, Cause of my new griefe, cause of my new joy; Joyous to see his ymage in mine eye, Or enimies powre, hath now captived Where ever yet I be, my secret aide you, 1 heed 2 since Shall follow you." So, passing forth, she him obaid. REALISTIC COMEDY: THE SHOEMAKERS' HOLIDAY IN the development of the drama through the mystery play and the morality it is possible to observe the gradual introduction of little realistic touches which foretell the coming liberation of the type from didacticism and allegory. In the English Nativity plays, for example, the shepherds with their homely dialogue are genuine products of the English soil, and in the Towneley cycle the extended episode of Mak and his sheep stealing is an excellent start in the direction of realistic comedy. It was natural that during the great age of the drama in the reign of Elizabeth the realism of everyday life should be prominently represented. The Shoemakers' Holiday was written by Thomas Dekker in 1599. Stories of shoemakers had appeared in book form the previous year (The Gentle Craft, by Thomas Deloney) and Dekker made his play from various elements in these tales. The love story of Lacy and Rose, which runs as a romantic thread through the play, is structually the central feature of the plot. But no one can doubt that the real interest of the drama centers in the character of Simon Eyre, the exuberant shoemaker, and his band of jolly workmen. They make this lively and boisterous comedy what it is. Their good fellowship and humor, the healthy pride they have in their craft, and their sense of loyalty to each other are responsible for most of the play's unusual charm. Thomas Dekker (c. 1570-c. 1641) was slightly younger than Shakespeare. Born and bred in London, he must have known well the artisan class portrayed in this play. He was the author of many plays, of which a dozen or more are extant. In addition, he was a prolific pamphleteer, writing numerous pieces of a fugitive character and temporary popularity. Most of his work was doubtless done under the urge of necessity and is characterized by an air of haste, but through nearly all of it there is a pervasive atmosphere of kindliness and good feeling that must have been part of the man. THOMAS DEKKER (1570?-1641?) THE SHOEMAKERS' HOLIDAY TO ALL GOOD FELLOWS, PROFESSORS OF THE GENTLE CRAFT, OF WHAT DEGREE SOEVER. KIND gentlemen and honest boon companions, I present you here with a merryconceited Comedy, called The Shoemakers' Holiday, acted by my Lord Admiral's Players this present Christmas before the Queen's most excellent Majesty, for the mirth and pleasant matter by Her Highness graciously accepted, being indeed no way offensive. The argument of the play I will set down in this Epistle: Sir Hugh Lacy, Earl of Lincoln, had a young gentleman of his own name, his near kinsman, that loved the Lord Mayor's daughter of London; to prevent and cross which love, the Earl caused his kinsman to be sent Colonel of a company into France: who resigned his place to another gentleman his friend, and came disguised like a Dutch shoemaker to the house of Simon Eyre in Tower Street, who served the Mayor and his household with shoes: the merriments that passed in Eyre's house, his coming to be Mayor of London, Lacy's getting his love, and other accidents, with two merry Threemen's-songs. Take all in good worth that is well intended, for nothing is purposed but mirth; mirth lengtheneth long life, which, with all other blessings, I heartily wish you. Farewell! So we, dear goddess, wonder of all eyes, Your meanest vassals, through mistrust and fear To sink into the bottom of disgrace Dreading the bitter storms of your dislike. Since then, unhappy men, our hap is such, That to ourselves ourselves no help can bring, But needs must perish, if your saint-like ears, Locking the temple where all mercy sits, Refuse the tribute of our begging tongues: Oh grant, bright mirror of true chastity, From those life-breathing stars, your sunlike eyes, One gracious smile: for your celestial breath Must send us life, or sentence us to death. THE PROLOGUE As it was pronounced before the Queen's Majesty. As wretches in a storm, expecting day, With trembling hands and eyes cast up to heaven, Make prayers the anchor of their conquered hopes, FIRK |