PHILIP, _Prince of Spain_, } ALVERO, _a nobleman, and father-in-law to Eleazar, and father to Hortenzo and Maria_.
MENDOZA, _the cardinal_.
CHRISTOFERO, } } _two noblemen of Spain_.
RODERIGO, } HORTENZO, _lover to Isabella, and son to Alvero_.
ZARACK, } } _two Moors attending Eleazar_.
BALTHAZAR, } COLE, } } _two friars_.
CRAB, } EMMANUEL, _King of Portugal_.
CAPTAIN, SOLDIERS, _cum aliis_.
_Two Pages attending the queen._
THE QUEEN-MOTHER OF SPAIN, _and wife to King Philip_.
ISABELLA, _the Infanta of Spain_.
MARIA, _wife to Eleazar, and daughter to Alvero_.
_The Scene, Spain._
PREFACE.
[This play was printed in 12^o, 1657 and 1661, with the name of Christopher Marlowe on the title as the author, than which few things are more improbable. Yet Dilke, who printed the piece in his series (1816), believed it to be really by Marlowe, and considered it superior to his "Faustus." He observes:] "In particular passages, and some whole scenes, 'Faustus' has great beauties; but it must have been principally indebted for its success to the superstitious ignorance of the times; 'Lust's Dominion' is a much better play." Dilke continues, "It was altered by Mrs Behn, and performed at the Duke of York's Theatre in 1671, under the title of 'Abdelazar;' and probably furnished hints for the admirable tragedy of 'The Revenge.' But, notwithstanding the luxuriance of imagery in the first scenes, the exquisite delicacy of the language that is throughout given to Maria, and the great beauty of parts, 'it has too much of "King Cambyses'" vein--rape, and murder, and superlatives;' and if the stage be intended as a portraiture of real character, such representations tend only to excite a disgust and abhorrence of human nature: with the exception of the innocent Maria, the fiery Philip, Isabella, Alvero, and Hortenzo, there is not one with whom our feelings hold communion. The open representation of the Devil in 'Faustus' is less offensive than the introduction of him here in the garb of a Moor; but the philanthropy of our ancestors was not shocked at any representation of an African or an Israelite."
Mr Collier[50] remarks, "Thomas Dekker, in partnership with William Haughton and John Day, was the author of 'The Spanish Moor's Tragedy,' which Malone, by a strange error, calls 'The Spanish Morris,' but he gives the right date, January 1599-1600.
The mistake was more important than it may appear at first sight, as 'The Spanish Moor's Tragedy' was most likely the production called 'Lust's Dominion,' not printed until 1657, and falsely attributed to Marlowe. A Spanish Moor is the hero of it, and the date in Henslowe, of January 1599-1600, corresponds with that of a tract upon which some of the scenes are even verbally founded.
That Marlowe, who was killed in 1593, and could not, therefore, be the author of it, requires no further proof."
LUST'S DOMINION;
OR,
THE LASCIVIOUS QUEEN.
ACT I., SCENE 1.
_Enter_ ZARACK, BALTHAZAR, _two Moors, taking tobacco; music sounding within_. _Enter_ QUEEN-MOTHER OF SPAIN _with two_ PAGES. ELEAZAR, _sitting on a chair, suddenly draws the curtain_.[51]
ELE. On me does music spend this sound! on me, That hate all unity! ah, Zarack! [ah,] Balthazar!
QUEEN-M. My gracious lord.
ELE. Are you there with your beagles! hark, you slaves!
Did not I bind you on your lives to watch That none disturb'd us?
QUEEN-M. Gentle Eleazar.
ELE. There, off: is't you that deaf me with this noise?
[_Exeunt two Moors._
QUEEN-M. Why is my love's aspect so grim and horrid?
Look smoothly on me; Chime out your softest strains of harmony, And on delicious music's silken wings Send ravishing delight to my love's ears, That he may be enamoured of your tunes.
Come, let's kiss.
ELE. Away, away!
QUEEN-M. No, no says ay; and twice away says stay: Come, come, I'll have a kiss; but if you strive, For one denial you shall forfeit five.
ELE. Nay, prythee, good queen, leave me; I am now sick and heavy, dull[52] as lead.
QUEEN-M. I'll make thee lighter by taking something from thee.
ELE. Do: take from me this ague and these fits That, hanging on me, Shake me in pieces, and set all my blood A-boiling with the fire of rage: away, away!
Thou believ'st I jest, And laugh'st to see My wrath wear antic shapes! Begone, begone!
QUEEN-M. What means my love?
Burst all those wires, burn all those instruments; For they displease my Moor. Art thou now pleas'd?
Or wert thou now disturb'd? I'll wage all Spain To one sweet kiss, this is some new device To make me fond and long. O, you men Have tricks to make poor women die for you.
ELE. What, die for me? away!
QUEEN-M. Away, what way? I prythee, speak more kindly; Why dost thou frown? at whom?
ELE. At thee.
QUEEN-M. At me!
O, why at me? For each contracted frown A crooked wrinkle interlines my brow: Spend but one hour in frowns, and I shall look Like to a beldame of one hundred years.
I prythee, speak to me, and chide me not.
I prythee, chide, if I have done amiss; But let my punishment be this and this.
[_Kiss._
I prythee, smile on me, if but awhile, Then frown on me, I'll die: I prythee, smile.
Smile on me, and these two wanton boys, These pretty lads that do attend on me, Shall call thee Jove, shall wait upon thy cup, And fill thee nectar: their enticing eyes Shall serve as crystal, wherein thou may'st see To dress thyself, if thou wilt smile on me.
Smile on me, and with coronets of pearl And bells of gold, circling their pretty arms, In a round ivory fount these two shall swim, And dive to make thee sport: Bestow one smile, one little, little smile, And in a net of twisted silk and gold In my all-naked arms thyself shall lie.
ELE. Why, what to do? Lust's arms do stretch so wide That none can fill them. I lie there? away![53]
QUEEN-M. Where hast thou learn'd this language, that can say No more but two rude words, _away, away_?
Am I grown ugly now?