danceth alone, and then the spirits, all expressing their joy for Cupid's coming among them. Fourth ENTRY. Here the scene changeth into a horrid storm; out of which enters the nymph Tempest, with four Winds; they dance. Fifth ENTRY. Lightnings, three in number, their habits glistering expressing that effect, in their motion. Sixth ENTRY. Thunder alone dancing the tunes to a noise, mixed, and imitating thunder. proper man, broad shouldered and broad chested, presented him to the Duchess, when he was nine years old, and scarcely a foot and half in height. In 1626, he was served up to the king and queen, then upon a visit to Burleigh, in a cold pye; and subsequently taken to Whitehall, where he became the queen's page, and entered into the diversions of the court. It is probable that he played Tom Thumb in the preceding Masque, in which Evans, the gigantic porter, in the character of Dr. Rat, to the inexpressible delight of the spectators, produced him out of his pocket. But Jeffrey played a part in more serious affairs. He was sent some time after this, to France, to fetch a midwife for the queen; and on his return was captured by a Dunkirk privateer. On the breaking out of the civil war, he held a commission in the cavalry, and followed his mistress to France. Here he had a dispute with a Mr. Crofts, a young gentleman of family, which ended in a challenge. Crofts came to the field armed with a squirt :-this only served to exasperate matters; and a real duel ensued, in which Jeffrey shot his antagonist dead upon the spot. For this, (Fuller says,) he was imprisoned. He returned to England after the Restoration, aud was involved in some trouble on account of what was called the Popish Plot. He died about 1683. Seventh ENTRY. Rain, presented by five persons, all swollen, and clouded over, their hair flagging, as if they were wet, and in their hands balls full of sweet water, which, as they dance, sprinkle all the room. Eighth ENTRY. Seven with rugged white heads and beards, to express Snow, with flakes on their garments, mixed with hail. These having danced, return into the stormy scene, whence they came. Here, by the providence of Juno, the Tempest on an instant ceaseth; and the scene is changed into a delicious place, figuring the BowER OF CHLORIS. Where, in an arbour feigned of goldsmith's-work, the ornament of which was born up with termes of satyrs, beautified with festoons, garlands, and all sorts of fragrant flowers. Beyond all this, in the sky a-far off, appeared a rainbow in the most eminent place of the Bower, sat the goddess CHLORIS, accompanied with fourteen nymphs,' their apparel white, The names of the Masquers, who personated the Nymphs, are thus given by the poet, arranged as they sat in the BOWER. 1. Countess of CARLISLE. 2. Countess of CARNARVON. 3. Countess of BERKSHIRE. 5. Countess of NEWPORT. 4. M. PORTER. 6. M. DOR. SAVAGE. 15. The QUEen. 7. Countess of OXFORD. 9. Lady ANNE CAVENDISH. 11. Lady PENELOPE EGERTON. 13. Lady STRANGE. 8. Lady HOWARD. embroidered with silver, trimmed at the shoulders with great leaves of green, embroidered with gold, falling one under the other. And of the same work were their bases, their head-tires of flowers, mixed with silver and gold, with some sprigs of ægrets among, and from the top of their dressing, a thin veil hanging down. All which beheld, the NYMPHS, RIVERS, and FOUNTAINS, with the SPRING, sung this rejoicing Song. 3 SONG. Grand. Cho. Run out, all the floods, in joy, with your silver feet, And haste to meet For whom the warbling fountains sing: Preserved by the Hours; At Juno's soft command, and Iris' showers; Whilst CHLORIS sits a shining star To crown, and grace our jolly song, made long, Which ended, the Goddess and her Nymphs descend the degrees into the room, and dance the Entry of the GRAND MASQUE. After this, another SONG by the same persons as before. 4 SON G. Grand Cho. Tell a truth, gay Spring, let us know What feet they were, that so Impress'd the earth, and made such various Spring. She that led, a queen was at least, Grand Cho. O, 'twere a fame to know her name! Or they did take th' impression from her foot. The MASQUERS here dance their second Dance. Which done, the farther prospect of the scene changeth into air, with a low landscape, in part covered with clouds: and in that instant, the heaven opening, JUNO and IRIS are seen; and above them many airy spirits, sitting in the clouds. 5 SONG. Juno. Now Juno, and the air shall know, Iris. From our discoloured bow. Iris, what news? The air is clear, your bow can tell, And Cupid sues. Juno. For pardon! Does he? Iris. Juno. He sheds tears More than your birds have eyes. The gods have ears: Offences made against the deities Iris. If who offends be wise. Here, out of the earth ariseth a Hill, and on the top of it a globe, on which FAME is seen standing with her trumpet in her hand; and on the hill are seated four persons, presenting POESY, HISTORY, ARCHITECTURE, and SCULPTURE; who together with the Nymphs, Floods, and Fountains, make a full choir; at which FAME begins to mount, and moving her wings flieth, singing, up to heaven. Fame. Rise, golden Fame, and give thy name a birth. Cho. From great and generous actions done on earth. Fame. The life of Fame is action. Cho. Understood, That action must be virtuous, great, and good. Fame. Virtue itself by Fame is oft protected, And dies despised Cho. Where the Fame's neglected.+ Fame. Who hath not heard of Chloris, and her bower, Fair Iris' act, employ'd by Juno's power, To guard the Spring, and prosper every flower, Cho. Great actions oft obscured by time, may lie, Fame. But they last to memory. Poesy. We that sustain thee, learned Poesy, Where the Fame's neglected.] This sentiment has occurred more than once before. It is from Tacitus: Contemptu famæ contemni virtutem. |