Renaissance Drama — Topics · seed 42

Antonio and Mellida · chunk 2 of 29

Marston, John · published 1602 · first performed or written 1602 (Annals)
comedy · Children of Paul's (second)
unassigned nearest T16 Gallantry: ladies, lordships and complim · 425 words

← previous chunkall chunks of this editionnext chunk →

Marked words are the most distinguishing words of the nearest topic T16: lady, madam, gentleman, lordship, ladies, honour, mistress, sweet, court, servant.

I warrant you, I warrant you, you shall see me prove the very periwig to cover the bald pate of brainless gentility. Ho, I will so tickle the sense of bella gratiosa madonna, with the titillation of Hyperbolical praise, that I'll strike it in the nick, in the very nick, chuck. Thou promisest more, than I hope any Spectator gives faith of performance: but why look you so dusky? ha? I was never worse fitted since the nativity of my Actorship: I shalt be hissed at, on my life now. Why, what must you play? Faith, I know not what: an Hermaphrodite; two parts in one: my true person being Antonio, son to the Duke of Genoa; though for the love of Mellida, Piero's daughter, I take this feigned presence of an Amazon, calling myself Florizell, and I know not what. I a voice to play a lady! I shall near do it. O, an Amazon should have such a voice, virago-like, Not play two parts in one? away, away: 'tis common fashion. Nay if you cannot bear two subtle fronts under one hood, I de or go by, go by; off this world's stage. O times impurity! ay, but when use hath taught me action, to hit the right point of a Lady's part, I shall grow ignorant when I must turn young Prince again, how but to truss my hose. Tush never put them off: for women wear the breaches still. By the bright honour of a Millanoise, and the resplendent fulgour of this steel, I will defend the feminine to death; and ding his spirit to the verge of hell, that dates divulge a Lady's preiudicio. Rampum scrampum, mount tufty Tamburlaine. What rattling thunder clap breaks from his lips? O, 'tis native to his part. For, acting a modern Bragadoch under the person of Matzagente, the Duke of Milan's son, it may seem to suit with good fashion of coherence. But methinks he speaks with a spruce Attic accent of adulterate Spanish. So 'tis resolved. For, Milan being half Spanish, half high Dutch, and half Italians, the blood of chiefest houses, is corrupt and mongreled: so that you shall see a fellow vainglorious, for a Spaniard; gluttonous, for a Dutchman; proud, for an Italian; and a fantastic Idiot, for all. Such a one conceit this Matzagente. But I have a part allotted me, which I have neither able apprehension to conceit, nor what I conceit gracious ability to utter. Whoop, in the old cut? good show us a draft of thy spirit.
← previous chunkall chunks of this editionnext chunk →

Details

Metadata, position in the edition, topic in the other seeds
PlayAntonio and Mellida
AuthorMarston, John
Publication year (edition)1602
First performance / composition (Annals)1602
First performance (BritDrama)1599 [autumn] [1599-1601]
Company (BritDrama)Children of Paul's (second)
Genre (British Drama)comedy
Play typeBoys Professional;Professional
Edition / TCP / DEEPedition 418 · TCP A07063 · DEEP 325
Edition roleRepresentative edition — used in the analysis
Positionnodes 32–48 (positions in the processed text, not lines of the printed book) · chunk 2 of 29 in this edition
Length425 words · 601 tokens
Topic (seed 42)unassigned by HDBSCAN · nearest topic T16 — Gallantry: ladies, lordships and compliment at 0.644
Other seedsseed 43: unassigned · seed 44: unassigned — topic numbers are assigned independently in each run; equal or different numbers say nothing by themselves
Original spelling (EEBO-TCP, unregularized)
I warrant you, I warrant you, you shall see mee prooue the very Perewig to couer the balde pate of brainelesse gentilitie. Ho, I will so tickle the sense of bella gratiosa madonna, with the titillation of Hyperbolicall praise, that Ile strike it in the nick, in the very nick, chuck. Thou promisest more, than I hope any Spectator giues faith of performance: but why looke you so duskie? ha? I was neuer worse fitted since the natiuitie of my Actorshippe: I shalt be hist at, on my life now. Why, what must you play? Faith, I know not what: an Hermaphrodite; two parts in one: my true person being Antonio, son to the Duke of Genoa; though for the loue of Mellida, Pieros daughter, I take this fained presence of an Amazon, calling my selfe Florizell, and I know not what. I a voice to play a lady! I shall nere doe it. O, an Amazon should haue such a voice, virago-like, Not play two parts in one? away, away: tis common fashion. Nay if you cannot bear two subtle frōts vnder one hood, I de or goe by, goe by; off this worlds stage. O times impuritie! I, but whē vse hath taught me actiō, to hit the right point of a Ladies part, I shall growe ignorant when I must turne young Prince againe, how but to trusse my hose. Tush neuer put them off: for women weare the breaches still. By the bright honour of a Millanoise, and the resplendent fulgor of this steele, I will defende the feminine to death; and ding his spirit to the verge of hell, that dates divulge a ladies preidico. Rampum scrampum, mount tuftie Tamburlaine. What rattling thunder clappe breakes from his lips? O, 'tis natiue to his part. For, acting a moderne Bragadoch vnder the person of Matzagente, the Duke of Millaines sonne, it may seeme to suite with good fashion of coherence. But me thinks he speakes with a spruce Attick accent of adulterate Spanish. So 'tis resolu'd. For, Millane being halfe Spanish, halfe high Dutch, and halfe Italians, the blood of chifest houses, is corrupt and mungrel'd: so that you shal see a fellow vaine-glorious, for a Spaniard; gluttonous, for a Dutchman; proud, for an Italian; and a fantastick Ideot, for all. Such a one conceipt this Matzagente. But I haue a part allotted mee, which I haue neither able apprehension to conceipt, nor what I conceipt gratious abilitie to vtter. Whoop, in the old cut? good shew vs a draught of thy spirit.