ElizabethanDrama.org
presents the Annotated Popular Edition of |
THE
ARRAIGNMENT of PARIS |
by George
Peele Performed
c. 1581 Featuring complete and
easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org,
2019. |
DRAMATIS PERSONAE. |
INTRODUCTION to the PLAY |
|
The Olympian Gods and Goddesses: |
With this, his first dramatic offering,
George Peele |
|
immediately
demonstrated his superb ability to craft finely |
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Jupiter, king of all the gods. |
lyrical verse. The
Arraignment of Paris relates the famous |
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Juno, queen of the gods. |
mythological story of
the beauty contest between the |
|
goddesses Juno, Pallas
and Venus, whose winner was |
||
Apollo, god of music, medicine and the sun. |
chosen by Paris, a
prince of Troy. Paris' decision in the |
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Bacchus, god of wine and revelry. |
contest led the two
losers to accuse him of unfair bias, |
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Diana, goddess of hunting and chastity. |
resulting in his trial
before all the major male gods of the |
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Mars, god of war. |
Roman pantheon. |
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Mercury, Jupiter's messenger. |
Arraignment is one of the
earliest "mature" Elizabethan |
|
Neptune, ruler of the seas. |
dramas, predating the
plays of the era's other well-known |
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Pallas, goddess of war and wisdom. |
authors (except
perhaps those of John Lyly, whose first |
|
Pluto, ruler of the underworld. |
plays also appeared in
1584). It is also a transitional drama, |
|
Venus, goddess of beauty. |
as indicated by its
mix of 5-iamb lines and old-fashioned |
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Vulcan, the blacksmith. |
7-iamb lines, as well
as the fact that it is written almost |
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entirely in rhyming
couplets. |
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Minor Gods and
Goddesses: |
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NOTE on the TEXT'S SOURCE |
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Pan, god of flocks and herdsman. |
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Faunus, god of fields. |
The text of the play is taken from
Alexander Dyce's |
|
Silvanus, god of forests. |
1874 edition of The
Arraignment of Paris, cited below |
|
Saturn, god of agriculture. |
at #3. |
|
Pomona, goddess of orchards and gardens. |
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Flora, goddess of flowers and gardens. |
NOTES on the ANNOTATIONS |
|
Ate, goddess of discord. |
||
Mention of Dyce, Bullen, Smeaton,
Benbow, Morley, |
||
Clotho, one of the Fates. |
Baskerville and Brooke
in the annotations refers to the |
|
Lachesis, one of the Fates. |
notes provided by
these editors in their respective editions |
|
Atropos, one of the Fates. |
of our play, each
cited fully below. |
|
The Muses, protectors of the arts. |
The most commonly cited sources are
listed in the |
|
footnotes immediately
below. The complete list of |
||
A Nymph
of Diana. |
footnotes appears at
the end of this play. |
|
Rhanis, a nymph. |
1. Oxford English Dictionary (OED)
online. |
|
2. Crystal, David and Ben. Shakespeare's
Words. |
||
Mortals: |
London, New York:
Penguin, 2002. |
|
3. Dyce, Rev. Alexander. The Dramatic
and Poetical |
||
Paris, a shepherd, son of King Priam of Troy. |
Works of Robert Greene
and George Peele. London: |
|
Colin, a shepherd. |
George Routledge and
Sons: 1874. |
|
Hobbinol, a shepherd. |
4. Bullen, A.H. The Works of George
Peele, Vol. I. |
|
Diggon, a shepherd. |
Boston: Houghton,
Mifflin and Company, 1888. |
|
Thenot, a shepherd. |
5. Smeaton, Oliphant. The Arraignment
of Paris. |
|
London: J.M. Dent and
Co., 1905. |
||
Oenone. |
6. Benbow, R. Mark, ed. The Works of
George Peele |
|
Helen. |
(Charles T. Prouty,
gen. ed.). New Haven: Yale University |
|
Thestylis. |
Press, 1970. |
|
7. Morley, Henry. English Plays.
London: Cassell, |
||
Cupids, Cyclops,
Shepherds, Knights, &c. |
Petter, Galpin &
Co. (no date). |
|
15. Baskerville, Charles Read, et al.
editors. Elizabethan |
||
and Stuart Plays. New York: Holt, Rinehart and Winston, |
||
1934. |
||
16. Brooke, C.F. Tucker, and Paradise,
Nathaniel B. |
||
English Drama,
1580-1642. Boston: D.C. Heath
and |
||
Company, 1933. |
||
A. Arraignment's Rhyming Couplets. |
||
Like its recent and well-known
predecessors Gammer Gurton's Needle and Ralph Roister Doister, The
Arraignment of Paris is written almost entirely in rhyming couplets.
Unlike these earlier works, however, Peele's play is written in strictly
metered verse, a strange mix of iambic pentameter (5 iambs, or feet, per
line) and iambic heptameter (7 iambs per line), with the sections of
pentameter and heptameter alternating almost at random. |
||
B. Peele's Alliteration. |
||
Peele's verse was generally noteworthy
for its heavy use of alliteration. As you read Arraignment, you may
wish to note the healthy proportion of lines which contain alliteration, some
lines even including two sets of alliterative words. |
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C. Settings, Scene Breaks and Stage Directions. |
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The entire play takes place in the
valleys and woods of Mt. Ida, near Troy, in Asia Minor. |
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THE ARRAIGNMENT |
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By George Peele |
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Performed c. 1581 |
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First Published 1584 |
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PROLOGUS. |
||
Prologus: the Prologue, or introduction to the
play, was |
||
Enter Atι. |
Entering Character: Atι, the goddess of discord and
mischief, travels the earth seeking to induce men and women to rash actions
that will lead to their ruin. |
|
1 |
Condemnθd soul, Atι,
from lowest hell, |
1: Atι, sower of
mischief, had been banished from Olympus by Jupiter after she had persuaded
Juno (Jupiter's wife) to give to one Eurystheus the destiny to rule over the
descendants of Perseus, rather than bestowing this fortune on Jupiter's
favourite, Hercules. |
2 |
And deadly rivers
of th' infernal Jove, |
2-4: a general
description of Hades. |
Where bloodless ghosts
in pains of endless date |
= ie. souls. = ie. lasting forever. |
|
4 |
Fill ruthless
ears with never-ceasing cries, |
= pitiless. |
Behold, I come in
place, and bring beside |
5-6: Behold
Troy!
= Atι carries in her hand an object - |
|
6 |
The bane of Troy!
behold, the fatal fruit, |
a golden apple - which
will set off the long chain of events which will lead to the fall of Troy. |
Raught from the golden tree of Proserpine! |
7: Raught
= past tense of reach, meaning "snatched". |
|
8 |
Proud Troy must fall,
so bid the gods above, |
8f: Smeaton
notes the presence in the remainder of the |
And stately Ilium's
lofty towers be racet |
9: Ilium's lofty
towers = Troy, also known as Ilium, was |
|
10 |
By conquering hands of
the victorious foe; |
= ie. the Greeks. |
King Priam's palace waste with flaming fire, |
= Priam
was the king of Troy; the Greeks would burn |
|
12 |
Whose thick and foggy
smoke, piercing the sky, |
12-14: the smoke
rising from the burning of Troy will let the |
Must serve for
messenger of sacrifice, |
gods know that Troy's destiny has been
fulfilled. |
|
14 |
T' appease the anger
of the angry heavens; |
|
And Priam's younger
son, the shepherd swain, |
15: Priam's second son
(out of fifty) was Paris; it had been foretold that his birth
would cause the destruction of Troy, so the king had ordered the newborn to
be left on nearby Mt. Ida to die from the elements; however, the baby Paris
was discovered, and then raised, by shepherds. |
|
16 |
Paris, th' unhappy organ
of the Greeks. |
= ie. agent or
instrument by which the Greeks will choose to make war on the Trojans; Bullen
suggests moving lines 15-16 to just before line 11, to smooth the sense of
these clearly connected lines. |
So, loth and
weary of her heavy load, |
18-20: the Trojan War
will lead to the deaths of so many men, that Pluto, the god of the
underworld, will complain of his burden of having to process the great
multitude of souls that will arrive in hell in such a short period of time. |
|
18 |
The Earth complains
unto the hellish prince, |
= Pluto, god of hell. |
Surcharged with the
burden that she nill sustain. |
19: "weighed down
with a burden that she will no longer |
|
20 |
Th' unpartial
daughters of Necessity |
20-21: Th'
unpartial...suit = the three Fates, the sister-goddesses who control
the lifespan of mortals, join in the protest of having to process so many men
in such a brief period of time. |
Bin aidθs in her suit: and so the twine |
21: Bin aides in
her suit = are helpers in Earth's petition. |
|
22 |
That holds old Priam's
house, the thread of Troy, |
21-23: the twine
cuts = Atropos
was the name of the |
Dame Atropos
with knife in sunder cuts. |
Fate who was
responsible for cutting one's thread of life; the conceit is applied
metaphorically to the life of the city of Troy. |
|
24 |
Done be the pleasure
of the powers above, |
24: the fate which has
been decreed for Troy must be |
Whose hests men
must obey: and I my part |
= commands; even the
gods could not alter what Fate has |
|
26 |
Perform in Ida vales.
Lordings, adieu; |
26: Lordings,
adieu = "gentlemen, I take my leave." |
Imposing silence for
your task, I end, |
= "my speech is
done". |
|
28 |
Till just assembly of
the goddesses |
28: "until the
meeting of the goddesses". |
Make me begin the
tragedy of Troy. |
||
30 |
||
[Exit Atι cum aureo pomo.] |
31: Atι exits with her
golden apple. |
|
ACT I. |
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SCENE I. |
||
Pan, Faunus, and Silvanus, with their Attendants, |
Entering Characters: three important pastoral gods enter |
|
enter to give welcome to the goddesses: |
the stage with their
attendants, who carry gifts on their |
|
Pan's Shepherd has a lamb, Faunus' Hunter has a |
behalves to present to
the goddesses (Juno, Pallas and |
|
fawn, and Silvanus' Woodman with an oaken-bough |
Venus) who are
expected to arrive soon on Mt. Ida. |
|
laden with acorns. |
As Pan is the god of
flocks and shepherds, his attendant carries a lamb; Faunus is
the god of fields, and so his attendant brings a fawn; and the attendant of Silvanus,
the god of forests, carries the bough of an oak tree covered with acorns. |
|
1 |
Pan. Silvanus, either Flora doth us wrong, |
1-4: Pan worries that
they will be late to meet the goddesses who are expected to arrive shortly on
Mt. Ida. |
2 |
Or Faunus made us tarry
all too long, |
2: or maybe it is
Faunus' fault for making them wait (tarry) |
For by this morning
mirth it should appear, |
3: ie. "I would
guess the moment of the morning's delights |
|
4 |
The Muses or the goddesses be near. |
= the nine goddesses
who serve as protectors of the arts, |
6 |
Faun. My fawn was nimble, Pan, and whipt apace, − |
6-7: Faunus
acknowledges his fault; it took a great deal of |
'Twas happy that we
caught him up at last, − |
||
8 |
The fattest, fairest
fawn in all the chace; |
= chase, ie.
game-filled woods.5 |
I wonder how the knave
could skip so fast. |
6-9: note the rhyme
scheme of Faunus' speech, abab, |
|
10 |
||
Pan. And I have brought a twagger for the
nones, |
11: twagger
= this unusual word makes its only appearance in the English written record
(outside of a 1582 collection word-collection) here; the OED editors guess
from the context that its meaning is - a fat lamb; Benbow suggests twagger
may be a misprint for twigger, which was a current term for a
prolific breeder. |
|
12 |
A bunting lamb;
nay, pray you, feel no bones: |
12: bunting
= plump;1 Smeaton, however, suggests "a lamb whose horns are
just beginning to show." |
Believe me now my
cunning much I miss, |
= "I am greatly
off in my guess as to how clever I am". |
|
14 |
If ever Pan felt
fatter lamb than this. |
14: note how the
characters of the play speak frequently of |
16 |
Silv. Sirs, you may boast your flocks and herds that |
16f: the verse
changes over temporarily to iambic heptameter; the play will regularly
switch back and forth between pentameter (five feet) and heptameter (seven
feet). The former is normal in Elizabethan drama, the latter rare. |
Yet hath Silvanus
walks, i-wis, that
stand in |
17: Yet hath
Silvanus walks = ie. "yet I have my own |
|
18 |
And, lo, the honour of
the woods, the gallant oaken- |
|
Do I bestow, laden with acorns and with mast enow!
|
19: Do I bestow
= ie. "will I give as my gift". |
|
20 |
||
Pan. Peace, man, for shame! shalt
have both lambs |
21: this line has
eight iambs! |
|
22 |
And all my pipes
to make the glee; we meet not |
22: pipes
= ie. panpipes, the wind instrument played by blowing into a series of
connected pipes of increasing length, famously associated with Pan. |
24 |
Faun. There's no such matter. Pan; we are all
friends |
24: hether
= hither, ie. here (properly "to here"). |
To bid Queen Juno and
her feres most humbly |
= companions, an
ancient word.1 |
|
26 |
Diana, mistress of our woods, her presence will not
|
26: Diana
is the goddess of the hunt, whose woods the |
Her courtesy to
all her friends, we wot, is nothing scant. |
27: courtesy
= consideration.1 |
|
ACT I, SCENE II. |
||
Scene II: Peele generally begins a new scene every
time |
||
Enter Pomona with her fruit. |
Entering Character: Pomona is the goddess of orchards; |
|
1 |
Pom. Yea, Pan, no farther yet, and had the start of me? |
1: "this is as
far you've gone, and you started out well before |
2 |
Why, then, Pomona with
her fruit comes time enough, |
= on time.1 |
Come on a while; with
country store, like friends, we |
= ie. "together
with the plenty with which the countryside |
|
4 |
Think'st, Faunus, that these goddesses will take
our |
4: Think'st
= "do you think". |
6 |
Faun. Yea, doubtless, for shall tell thee, dame, 'twere |
6: shall
= ie. "I shall". |
A sign of love,
unto a mighty person or a king, |
= token. |
|
8 |
Than to a rude
and barbarous swain, but bad and |
= unrefined. = peasant, rustic. |
For gently takes the
gentleman that oft the clown will |
9: a gentleman will
usually accept a gift with grace, when |
|
10 |
||
Pan. Say'st truly,
Faunus; I myself have given good |
11: Say'st truly
= "you tell the truth". |
|
12 |
To Mercury, may
say to thee, to Phoebus, and to Jove; |
12: (1) the messenger
god, (2) Apollo, and (3) the king of |
When to a country mops,
forsooth, chave offered all |
13-14: Pan describes
the lack of appreciation shown to him |
|
14 |
And piped and prayed
for little worth, and ranged about |
14: ie. "and
played my pipe for the girl, and prayed for help |
16 |
Pom. God Pan, that makes your flock so thin, and |
= ie. wasting his time
chasing girls. |
To kiss in corners. |
17: ie. to spend his
time kissing girls on the sly. |
|
18 |
||
Pan. Well said, wench! some other thing you mean. |
19: with good humour,
Pan suggests Pomona is actually |
|
20 |
||
Pom. Yea,
jest it out till it go alone: but marvel |
21-22: "well, you
all can joke all you want, but it is sur- |
|
22 |
Fair Flora all this
merry morn. |
morning." |
24 |
Faun. Some news; see where she is. |
24: "finally,
some news: look, here comes Flora." |
ACT I, SCENE III. |
||
Enter Flora to the country gods. |
Entering Characters: Flora, the goddess of flowers
arrives. |
|
1 |
Pan. Flora, well met, and for thy taken pain, |
= "your
efforts" or "your work". |
2 |
Poor country gods, thy debtors we remain. |
2: Poor country
gods = ie. "we poor country gods": Pan |
4 |
Flora. Believe me, Pan, not all thy lambs and yoes,
|
4: Peele employs a
dialectical form of ewes to rhyme with |
Nor, Faunus, all thy lusty
bucks and does, |
= ie. most vigorous or
powerful. |
|
6 |
(But that I am
instructed well to know |
6: "Except that I
have been properly taught". |
What service to
the hills and dales I owe,) |
= duty. = valleys; hills and dales
have been paired in |
|
8 |
Could have enforced me
to so strange a toil, |
8: "could have
persuaded me to engage in such unusual |
Thus to enrich this gaudy,
gallant soil. |
9: to enrich the
soil usually meant "to fertilize", but Flora means she has
seriously decorated the countryside around them with flowers. |
|
10 |
||
Faun. But tell me, wench, hast done't so trick indeed, |
= young lady. = "have you done it so neatly or
cleverly".3 |
|
12 |
That heaven itself may
wonder at the deed? |
= marvel; Flora has
covered the region with a spectacular |
14 |
Flora. Not Iris, in her pride and bravery, |
14-15: "not even Iris
(the goddess of the rainbow), in her |
Adorns her arch
with such variety; |
splendour (pride) and
finery (bravery), adorns her |
|
16 |
Nor doth the
milk-white way, in frosty night, |
= the Milky Way; the
expression describing this bright |
Appear so fair and
beautiful in sight, |
||
18 |
As done these
fields, and groves, and sweetest bowers, |
= do. = natural recesses. |
Bestrewed and decked with parti-coloured
flowers, |
= strewn. = adorned.
= multi. |
|
20 |
Along the bubbling
brooks and silver glide, |
20: bubbling
brooks = this recently introduced expression |
That at the bottom
doth in silence slide; |
= the bed under the
water.1 |
|
22 |
The watery-flowers
and lilies on the banks, |
22: watery-flowers
= any of various flowers that grow in |
Like blazing comets, burgen
all in ranks; |
= burgeon, ie. sprout;
the simile compares the blooming of |
|
24 |
Under the hawthorn and
the poplar-tree, |
|
Where sacred Phoebe
may delight to be, |
= alternate title for
Diana, goddess of hunting, whose |
|
26 |
The primrose,
and the purple hyacinth, |
= a small yellow
flower. = ie. meaning the bluebell, so
|
The dainty violet, and
the wholesome minth, |
= ie. mint plant. |
|
28 |
The double daisy, and
the cowslip, queen |
= plant with drooping
umbrella- or bell-shaped flowers. |
Of summer flowers, do overpeer
the green; |
= overlook.2 = grassy area.1 |
|
30 |
And round about the
valley as ye pass, |
= plural form of you. |
Ye may ne see for
peeping flowers the grass: |
31: "there are so
many flowers you cannot even see the |
|
32 |
That well the mighty Juno, and the rest, |
= ie. "then might
well". |
May boldly think to be
a welcome guest |
||
34 |
On Ida hills, when to approve
the thing, |
= ie. demonstrate her
welcome to the goddesses. |
The Queen of Flowers
prepares a second spring. |
||
36 |
||
Silv. Thou
gentle nymph, what thanks shall we repay |
||
38 |
To thee that mak'st
our fields and woods so gay? |
|
40 |
Flora. Silvanus, when it is thy hap to see |
= good fortune. |
My workmanship in
portraying all the three, |
41: Flora has prepared
portraits in flowers of the three |
|
42 |
First stately Juno
with her port and grace, |
42-43: Juno is
appropriately portrayed with her queenly |
Her robes, her lawns,
her crownet, and her mace, |
43: lawns
= clothing of fine linen.1 |
|
44 |
Would make thee muse
this picture to behold, |
= marvel at.2 |
Of yellow oxlips
bright as burnished gold. |
45: a plant whose
flower is slightly bell-shaped. |
|
46 |
||
Pom. A rare device; and Flora well, perdy, |
47: A rare
device = an excellent piece of work or idea. |
|
48 |
Did paint her yellow
for her jealousy. |
48: yellow
has been the colour of jealousy at least as far back as
Chaucer's Knight's Tale (c. 1385).1 |
50 |
Flora. Pallas in flowers of hue and colours red; |
= variety.1 |
Her plumes, her helm, her lance, her Gorgon's head, |
51: Flora has
portrayed Pallas, the goddess of war and wisdom, with the attributes of a
warrior. |
|
52 |
Her trailing tresses
that hang flaring round, |
= long locks of hair.1 |
Of July-flowers
so graffθd in the ground, |
53: July-flowers
= common 16th century spelling for |
|
54 |
That, trust me, sirs,
who did the cunning see, |
= skillful or clever
work. |
Would at a blush
suppose it to be she. |
54-55: the portrayal
is so flattering that anyone who saw it |
|
56 |
||
Pan. Good Flora, by my flock, 'twere very
good |
57: by my flock
= typical Elizabethan oath on a concrete |
|
58 |
To dight her
all in red resembling blood. |
= adorn or dress.1,4 |
60 |
Flora. Fair Venus of sweet violets in blue, |
|
With other flowers infixed
for change of hue; |
= inserted.1 = variety. |
|
62 |
Her plumes, her
pendants, bracelets, and her rings. |
|
Her dainty fan, and
twenty other things, |
||
64 |
Her lusty mantle
waving in the wind, |
= gay cloak.1 |
And every part in
colour and in kind; |
= "suitable and
natural."14 |
|
66 |
And for her wreath of
roses, she nill dare |
= ie. would not. |
With Flora's cunning
counterfeit compare. |
= skillfully-made
portrait or image. |
|
68 |
So that what living wight
shall chance to see |
= person. |
These goddesses, each
placed in her degree, |
= "as befits her
status". |
|
70 |
Portrayed by Flora's
workmanship alone, |
|
Must say that art
and nature met in one. |
= art
(artificial works created by hand, or the skill required to make such
objects) and nature (those things which the natural world
produced) were frequently opposed or paired in the era's literature. |
|
72 |
||
Sil. A dainty
draught to lay her down in blue, |
= delightful
picture. = ie. "portray
her". |
|
74 |
The colour commonly betokening
true. |
73-74: Silvanus is
ironic, as Venus was associated with anything other than the loyalty (true)
of lovers; this is one of the earliest connections in print between true
and blue, the phrase true blue itself not
appearing until 1623. |
76 |
Flora. This piece of work, compact with many a |
= composed.2 |
And well laid in at
entrance of the bower, |
= natural enclosure,
arbour.2 |
|
78 |
Where Phoebe means to
make this meeting royal, |
|
Have I prepared to
welcome them withal. |
= with. |
|
80 |
||
Pom. And are they yet dismounted, Flora, say. |
= could mean
"stepped down from their chariots" or |
|
82 |
That we may wend
to meet them on the way? |
= "be on our
way", ie. go. |
84 |
Flora. That shall not need: they are at hand by this, |
84: "that won't
be necessary, they are close by (at hand) |
And the conductor
of the train hight Rhanis. |
85: "and the one
leading their procession is Rhanis." |
|
86 |
Juno hath left her
chariot long ago, |
|
And hath returned her peacocks
by her rainbow; |
87: "and has sent
back her peacocks by means of Iris (the |
|
88 |
And bravely, as
becomes the wife of Jove, |
= nobly. = is fitting for. |
Doth honour by her
presence to our grove. |
||
90 |
Fair Venus she hath
let her sparrows fly, |
90: sparrows
were sacred to Venus. |
To tend on her and
make her melody; |
||
92 |
Her turtles and
her swans unyokθd be. |
92: turtles
= ie., turtledoves, birds that were said to pull |
And flicker
near her side for company. |
= flutter.4 |
|
94 |
Pallas hath set her tigers
loose to feed, |
94: Pallas was
sometimes associated with various big cats; |
Commanding them to
wait when she hath need. |
||
96 |
And hitherward
with proud and stately pace, |
= towards here. |
To do us honour in the
sylvan chace, |
= wooded
hunting-ground.1 |
|
98 |
They march, like to
the pomp of heaven above, |
= heaven,
like most two-syllable words with a median 'v', |
Juno the wife and
sister of King Jove, |
99: Juno was both the
sister and wife of the king of the gods. |
|
100 |
The warlike Pallas,
and the Queen of Love. |
98-100: note the
rhyming triplet to finish off Flora's speech. |
102 |
Pan. Pipe, Pan, for joy, and
let thy shepherds sing; |
= an imperative, Pan
calling on himself to play his pipe. |
Shall never age forget
this memorable thing. |
||
104 |
||
Flora. Clio, the sagest of the
Sisters Nine, |
105: Clio,
one of the nine Muses, is the Muse of history, |
|
106 |
To do observance
to this dame divine, |
= reverence. |
Lady of learning and
of chivalry, |
||
108 |
Is here arrived in
fair assembly, |
= assembly
is pronounced with four syllables: as-SEM- |
And wandering up and
down th unbeaten ways, |
= untrod paths. |
|
110 |
Ring through the wood sweet songs of Pallas
praise. |
= ie. fills with
sound.1 |
112 |
Pom. Hark, Flora, Faunus! here is melody, |
|
A charm of
birds, and more than ordinary. |
= chorus or song, or
blended singing.1,3,5 |
|
114 |
||
[An artificial charm of birds being heard within.] |
115: Brooke suggests
the music is made by mechanical |
|
116 |
||
Pan. The silly birds make mirth; then should we do |
117: silly
= vulnerable or simple;1,14 references to silly |
|
118 |
Pomona, if we nill
bestow an echo to their song. |
118: "if we do
not respond with a song of our own." |
120 |
THE SONG. |
|
122 |
[A quire within and without.] |
122: there will be
singing both on-stage and from off-stage. |
124 |
Gods. O Ida,
O Ida, O Ida, happy hill! |
= ie. mountain. |
This honour done to
Ida may it continue still! |
= forever. |
|
126 |
||
Muses. [Within]
Ye country gods that in this Ida won, |
127: Within
= the Muses are understood to be singing from |
|
128 |
Bring down your gifts
of welcome, |
off-stage, as they accompany the three
goddesses. |
For honour done to Ida. |
in this Ida won = live
(won) on Mt. Ida.1 |
|
130 |
||
Gods.
Behold, in sign of joy we sing. |
||
132 |
And signs of joyful
welcome bring. |
|
For honour done to Ida. |
||
134 |
||
Muses. [Within]
|
||
136 |
The Muses give you
melody to gratulate this chance, |
= joyfully welcome
this opportunity. |
And Phoebe, chief
of sylvan chace, commands you |
= ie. Diana, the
goddess of the woodland hunt. |
|
138 |
||
Gods. Then
round in a circle our sportance must be, |
139: sportance
= playful activity.1 |
|
140 |
Hold hands in a
hornpipe, all gallant in glee. |
= in a dance performed
to the accompaniment of a horn- |
142 |
[Dance.] |
142: there is a
time-out in the story here, as the characters |
perform a dance. |
||
144 |
Muses. [Within]
|
|
Reverence, reverence,
most humble reverence! |
||
146 |
||
Gods. Most
humble reverence! |
||
ACT I, SCENE IV. |
||
Juno, Pallas and Venus enter, Rhanis leading |
||
the way. Pan alone sings. |
||
1 |
THE SONG. |
|
2 |
||
The God of Shepherds,
and his mates, |
||
4 |
With country cheer
salutes your states, |
|
Fair, wise, and worthy
as you be. |
||
6 |
And thank the gracious
ladies three |
|
For honour done to Ida. |
||
8 |
||
[The birds sing.] |
||
10 |
||
The song being done,
Juno speaks. |
||
12 |
||
Juno. Venus, what shall I say? for, though I be a |
||
14 |
This welcome and this
melody exceed these wits of |
|
16 |
Venus. Believe me, Juno, as I hight the Sovereign |
= "am
called", an ancient word dating back to Old English. |
These rare delights in
pleasures pass the banquets of |
= surpass. |
|
18 |
||
Pall. Then, Venus, I conclude, it easily may be seen, |
= pronounced as a
two-syllable word: EAS-'ly; line 19 is |
|
20 |
That in her chaste
and pleasant walks fair Phoebe is a |
20: Phoebe,
again, is Diana, goddess of the hunt, whose |
22 |
Rhan. Divine Pallas, and you sacred dames, |
22: a short line; Dyce
suggests adding You at its beginning. |
Juno and Venus,
honoured by your names, |
||
24 |
Juno, the wife and
sister of King Jove, |
|
Fair Venus, lady-president
of love, |
= presiding goddess; a
favourite word of Peele's. |
|
26 |
If any entertainment
in this place, |
|
That can afford
but homely, rude, and base, |
= provide. = rustic.5 |
|
28 |
It please your godheads
to accept in gree, |
= divine natures.1 = occasionally used phrase, meaning |
That gracious thought
our happiness shall be. |
"accept graciously" or
"accept kindly".1 |
|
30 |
My mistress Dian, this
right well I know, |
|
For love that to this
presence she doth owe, |
||
32 |
Accounts more honour
done to her this day, |
|
Than ever whilom
in these woods of Ida; |
= ie. occurred
earlier, before. |
|
34 |
And for our country
gods, I dare be bold, |
|
They make such cheer,
your presence to behold, |
||
36 |
Such jouisance,
such mirth, and merriment, |
= synonym for
merriment and mirth, a borrowing from Old |
As nothing else their
mind might more content: |
||
38 |
And that you do
believe it to be so, |
= so. |
Fair goddesses, your
lovely looks do show. |
||
40 |
It rests in
fine, for to confirm my talk, |
40: "in short (in fine), it only remains (rests), in order to |
Ye deign to
pass along to Dian's walk; |
= condescend. |
|
42 |
Where she among her
troop of maids attends |
|
The fair arrival of
her welcome friends. |
||
44 |
||
Flora. And we will wait with all observance due, |
||
46 |
And do just honour to
this heavenly crew. |
|
48 |
Pan. The God of Shepherds, Juno, ere thou go, |
= before. |
Intends a lamb on thee
for to bestow. |
||
50 |
||
Faun. Faunus, high ranger in Diana's chace. |
= game-keeper. |
|
52 |
Presents a fawn to
Lady Venus' grace. |
|
54 |
Sil.
Silvanus gives to Pallas' deity |
|
This gallant bough raught
from the oaken-tree. |
= ie. taken. |
|
56 |
||
Pom. To them that do this honour to our fields, |
||
58 |
Her mellow apples poor
Pomona yields. |
|
60 |
Juno. And, gentle gods, these signs of your goodwill |
|
We take in worth, and
shall accept them still. |
||
62 |
||
Venus. And,
Flora, this to thee among the rest, − |
= ie. "I say
this". |
|
64 |
Thy workmanship
comparing with the best, |
|
Let it suffice thy
cunning to have [power] |
= a word is missing
after have in the original quarto; later |
|
66 |
To call King Jove from
forth his heavenly bower. |
editors naturally enough insert power
here to rhyme with |
Hadst thou a lover,
Flora, credit me, |
||
68 |
I think thou wouldst bedeck
him gallantly. |
= adorn. |
But wend we on; and,
Rhanis, lead the way, |
||
70 |
That kens the painted paths of pleasant Ida. |
= "she who knows
well". = colourfully decorated. |
kens = the verb ken,
meaning "to know", much later |
||
72 |
[Exeunt.] |
|
ACT I, SCENE V. |
||
Enter Paris and Oenone. |
Entering Characters: Paris is a son of the Priam, King of Troy (one of
fifty!); when it was predicted that Paris' birth would lead to the ruin of
Troy, his father commanded the shepherd Agelaus to bring the baby to Mt. Ida
and abandon him to the elements (ie. to be "exposed"); after five
days, Agelaus returned to find the infant still alive, being fed by a
she-bear, and subsequently brought the baby home, named him Paris, and raised
him with his own son. |
|
1 |
Paris. Oenone, while we
bin disposed to walk. |
1: Oenone
= pronounced in three syllables, with the stress |
2 |
Tell me what shall be
subject of our talk? |
|
Thou hast a sort
of pretty tales in store, |
= collection. = abundance. |
|
4 |
Dare say no nymph in Ida woods hath more: |
= read as "I dare
say". |
Again, beside
thy sweet alluring face, |
= ie. in addition to. |
|
6 |
In telling them
thou hast a special grace. |
= ie. "your
tales". |
Then, prithee,
sweet, afford some pretty thing, |
7: "then, please
(prithee), my sweet, offer me up a nice |
|
8 |
Some toy that
from thy pleasant wit doth spring. |
= trifle. |
10 |
Oen. Paris, my heart's contentment and my choice, |
|
Use thou thy pipe,
and I will use my voice; |
11: Oenone asks Paris
to accompany her on his pipe (a |
|
12 |
So shall thy just
request not be denied, |
recorder-like instrument)1 as
she sings her story. |
And time well spent,
and both be satisfied. |
||
14 |
||
Paris. Well, gentle nymph, although thou do me wrong, |
||
16 |
That can ne
tune my pipe unto a song, |
16: "I who am
unable to play my pipe in accompaniment |
Me list this once, Oenone, for thy sake. |
17: "I will
choose or opt". |
|
18 |
This idle task
on me to undertake. |
= foolish. |
20 |
They sit under a tree together. |
|
22 |
Oen. And whereon, then, shall be my roundelay? |
= ie. "on what
subject". = short song.1 |
For thou hast heard my
store long since, dare say; |
= ie. "my whole
collection (of stories)"; in this speech, |
|
24 |
How Saturn did divide
his kingdom tho |
24-25: (1) Saturn,
a member of the generation of gods |
To Jove, to Neptune,
and to Dis below; |
known as the Titans,
had become king of the gods after he overthrew his father, Caelus, known as "The
Sky"; Saturn in turn was overthrown by his children, the generation
known as the Olympians, in a war referred to as the Battle of the Titans.
The brothers Jupiter (aka Jove), Neptune
and Pluto (aka Dis) divided the universe amongst themselves
by lot, with Jupiter becoming the ruler of the heavens and earth (as well as
assuming the role of king of all the gods), Neptune ruler of the seas, and
Pluto the underworld. |
|
26 |
How mighty men made
foul successless war |
26-27: (2) Mother
Earth, angry that her son Saturn had been |
Against the gods and
state of Jupiter; |
stripped of his rule,
gave birth to a race of Giants which challenged the supremacy of the
Olympians in a war known as the Battle of the Giants. It was close,
but the Olympians prevailed |
|
28 |
How Phorcys' imp,
that was so trick and fair, |
28-30: (3) the early
god Phorcys had had a daughter, a |
That tangled Neptune
in her golden hair, |
beautiful mortal named
Medusa, the most famous of the |
|
30 |
Became a Gorgon for
her lewd misdeed, − |
three sisters known as
the Gorgons; Athena punished Medusa for her presumption in
carrying on an affair with Neptune in one her temples, by turning Medusa's
hair to snakes and her appearance into something so frightful that anyone who
looked directly on her was turned to stone. |
A pretty fable,
Paris, for to read, |
31-33: Oenone warns
Paris to take the lesson of the story |
|
32 |
A piece of cunning,
trust me, for the nones, |
of Medusa to heart;
having the gift of prophecy, Oenone |
That wealth and beauty
alter men to stones; |
already knows that
Paris will be drawn to leave her for another - the future Helen of Troy - and
that his affair will lead to his own ruin. |
|
34 |
How Salmacis,
resembling idleness, |
34-35: (4) allusion to
the story of Aphroditus (a son of |
Turns men to women all
through wantonness; |
Mercury and Venus) who
fell asleep at the spring of the nymph Salmacis, who in turn
fell in love with Aphroditus' great beauty; he rejected the nymph's
affection, but later, while he was bathing in the spring, Salmacis embraced
him and prayed to the gods to let her be united to him forever; their bodies
were merged, forming the first hermaphrodite.11 |
|
36 |
How Pluto caught Queen
Ceres' daughter thence, |
36-37: (5) Pluto,
with Jupiter's permission, kidnapped and |
And what did follow of
that love-offence; |
married Proserpine,
the daughter of Ceres, the goddess of agriculture and
especially grains (hence the word cereal). Ceres, having found her
daughter after a lengthy search, begged the gods to have Proserpine returned
to her; the gods assented, permitting her return so long as she had not yet
eaten anything from the underworld. Unfortunately, Proserpine had already
eaten half of a pomegranate which had been given to her by Pluto as a
love-offering, and as a consequence was allowed to stay with her mother for
only half of each year. |
|
38 |
Of Daphne turned into
the laurel-tree, |
38: (6) oft
referred-to tale of the lovely nymph Daphne who |
That shows a mirror of
virginity; |
was chased by the
amorous Apollo; calling to the gods for help, she was famously changed into a
laurel tree. |
|
40 |
How fair Narcissus tooting
on his shade, |
40-41: (7) Narcissus
was the beautiful but vain youth who |
Reproves disdain, and tells how form doth vade; |
had rejected the love
of both the nymph Echo and another young man Ameinias; the latter, before
killing himself, prayed to the goddess Nemesis to avenge him for Narcissus'
cruel spurning; Nemesis, answering the entreaty, caused Narcissus to fall in
love with his own reflection in a pool of water; unable to take his eyes away
from himself, he wasted away until at length he was turned into a flower - the
narcissus. |
|
42 |
How cunning
Philomela's needle tells |
42-43: (8) the
allusion is to the gruesome story of Tereus, |
What force in love,
what wit in sorrow dwells; |
the king of Thrace,
who violently raped Philomena, the sister of his wife Procne.
Tereus cut out Philomena's tongue to keep her from telling anyone what
happened, and kept her locked in a shed. Philomena famously weaved her story
onto a cloth, which she then was able to pass on to a friend. When Procne,
who had been told by Tereus that her sister was dead, learned the truth, she,
in revenge, cooked and fed Itys, her son by Tereus, to Tereus. As Tereus
chased the girls with murderous intent, the gods transformed them into birds
- Philomena a nightingale, and Procne a swallow. |
|
44 |
What pains unhappy
souls abide in hell, |
44f: (9) Oenone
will go on now to describe some famous |
They say because on
earth they lived not well, − |
denizens of hell, who must suffer
eternal punishment |
|
46 |
Ixion's wheel, proud Tantal's pining woe, |
46: (10) Ixion's
wheel = Ixion's father-in-law tried to extort Ixion's
wedding presents from him, and in revenge Ixion invited the man to his home,
wherein he caused him to fall into a pit filled with fire; Ixion was pardoned
by Jupiter, who invited him to a feast, but Ixion repaid his host by trying
to seduce Jupiter's wife Juno. He was punished by being tied by his hands and
feet to a wheel which forever spun around in the underworld. |
Prometheus' torment,
and a many mo. |
47: (11) as punishment
for his having delivered fire to mankind, Jove had Prometheus
bound to a pillar, where he was attacked by an eagle which gnawed out
Prometheus' liver every day, the liver growing back each night; this went on
for years, until Jupiter permitted Hercules to rescue him. |
|
48 |
How Danaus' daughters
ply their endless task, |
48: (12) the Egyptian Danaus,
King of Argos, had 50 daughters (known as the Danaides), whom
he allowed to marry the 50 sons of his brother Aegyptus; suspecting his
son-in-laws of plotting against him, Danaus ordered his daughters to slay
their husbands on their wedding night; all but one did so. The Danaides'
ultimate fate was to pour water into vessels full of holes for all eternity.11 |
What toil the toil of
Sisyphus doth ask: |
49: (13) Sisyphus
was a king of Corinth and a shady character; for any of a number of offenses
(including attacking and killing travelers with a large stone), Sisyphus was
condemned to eternally push an enormous block of marble up a hill, after
which the block always slid or rolled back down the hill.11 |
|
50 |
All these are old and
known I know, yet, if thou wilt |
|
Choose some of these,
for, trust me, else Oenone hath |
||
52 |
||
Paris. Nay, what thou wilt: but sith my cunning not |
53: "no no,
choose whichever one you wish; but since my |
|
54 |
Begin some toy
that I can play upon this pipe of mine. |
= trifle, ie. small
song.14 |
56 |
Oen. There is a pretty sonnet, then, we call it Cupids |
= pleasant song. |
"They that do
change old love for new, pray gods they |
57: Oenone, still
obsessing over Paris' fidelity to her, quotes |
|
58 |
The note is
fine and quick withal, the ditty will agree, |
58-59: "the tune
(note) is a fine and short one, and the |
Paris, with that same
vow of thine upon our poplar-tree. |
(message of the) short song is the same,
Paris, as the |
|
60 |
vow you made to me under our poplar
tree." |
|
Paris. No better thing; begin it, then: Oenone, thou |
||
62 |
Our music figure
of the love that grows 'twixt thee |
62: the music the pair
will make together, with Paris playing his pipe and Oenone singing, will represent
(figure) the love |
between ('twixt)
them. |
||
64 |
They sing; |
|
and while Oenone sings, he pipes. |
||
66 |
||
Oen. Fair
and fair, and twice so fair, |
||
68 |
As fair as any may be; |
|
The fairest shepherd
on our green, |
||
70 |
A love for any lady. |
|
72 |
Paris. Fair and fair, and twice so fair, |
|
As fair as any may be; |
||
74 |
Thy love is fair for
thee alone, |
|
And for no other lady. |
||
76 |
||
Oen. My love is fair, my love is gay, |
||
78 |
As fresh as bin the flowers in
May, |
= are. |
And of my love my
roundelay, |
||
80 |
My merry merry merry roundelay, |
80: several editors
suggest that one merry of the three |
Concludes with Cupid's curse, − |
should likely be deleted. |
|
82 |
They that do change
old love for new. |
|
Pray gods they change for worse! |
||
84 |
||
Ambo. Simul. They
that do change, &c. |
85: together the pair
re-sing lines 82-83. |
|
86 |
|
|
Oen. Fair and fair, &c. |
87: Oenone repeats the
first verse. |
|
88 |
||
Paris. Fair and fair, &c. |
||
90 |
Thy love is fair, &c |
|
92 |
Oen. My love
can pipe, my love can sing. |
|
My love can many a
pretty thing, |
||
94 |
And of his lovely
praises ring |
|
My merry merry
roundelays, |
||
96 |
Amen to Cupid's curse, − |
|
They that do change,
&c. |
||
98 |
||
Paris. They that do change, &c. |
||
100 |
||
Both. Fair
and fair, &c. |
||
102 |
||
[The song being ended, they rise.] |
||
104 |
||
Oen. Sweet shepherd, for Oenone's sake be cunning |
105: be cunning
in this song = ie. "be clever enough to |
|
106 |
And keep thy love,
and love thy choice, or else thou |
106: by thy love,
Oenone means herself. |
108 |
Paris. My vow is made and witnessθd, the poplar will |
108: the poplar tree
was a witness to the vow Paris made to Oenone; vows of betrothal were more
enforceable if they were witnessed by third parties. |
Nor shall the nymph
Oenone's love from forth my |
= ie. "start
from", meaning "leave" or "flee". |
|
110 |
I will go bring
thee on thy way, my flock are here |
= "accompany
you" |
And I will have a
lover's fee; they say, unkissed unkind. |
= I cannot find any
evidence of this proverbial sentiment |
|
112 |
appearing in any other contemporary
literature. |
|
[Exeunt.] |
||
ACT II. |
||
SCENE I. |
||
Enter Juno, Pallas and Venus. |
Entering Characters: now that the entrance of the goddesses has
been properly celebrated, the deities turn to childishly bickering with each
other; they are particularly inclined to twit each about their indiscreet sex
lives. |
|
1 |
Venus [ex abrupto] |
= suddenly (a stage
direction); we catch up with the ladies in the middle of their conversation. |
2 |
But pray you, tell me,
Juno, was it so, |
|
As Pallas told me here
the tale of Echo? |
= Echo
was a mountain nymph who once kept Juno busily talking while Juno's husband
Jove was away playing around with some other nymphs; when Juno learned of the
deception, she punished Echo by robbing her of the ability to speak on her
own volition, condemning her to be able to only repeat what others say.11 |
|
4 |
||
Juno. She was a nymph indeed, as Pallas tells, |
5-18: Juno, of course,
reacts defensively to Venus' teasing; while acknowledging the truth of the
story of Echo, she insists Jupiter is on the whole not particularly prone to
cheating on her - an argument no one would ever believe. |
|
6 |
A walker, such
as in these thickets dwells; |
= forest-dweller,14
but Juno seems to use the term walker in some pejorative
manner; perhaps walker is intended to have the same sense as the term street-walker,
referring to a prostitute (street-walker in this sense dates back to
at least 1591).1 |
And as she told what
subtle juggling pranks |
7-8: "and as
Pallas told of what cunning and deceitful tricks |
|
8 |
She played with Juno,
so she told her thanks: |
Echo played on Juno, so Juno thanked her
appropriately |
A tattling trull to
come at every call, |
9: "a
tale-telling or gossiping girl or whore who comes |
|
10 |
And now, forsooth, nor
tongue nor life at all. |
10: "and now,
truly, she has neither tongue nor life at all" |
And though perhaps she
was a help to Jove, |
||
12 |
And held me chat
while he might court his love, |
= "kept me busily
chatting away". |
Believe me, dames, I
am of this opinion, |
||
14 |
He took but little
pleasure in the minion; |
= ie. "his
mistress". |
And whatsoe'er his scapes
have been beside, |
15: "and no
matter what other affairs he has carried on |
|
16 |
Dare say for him, 'a
never strayed so wide: |
16: "I dare say
for Jove, he has never really strayed that far |
A lovely nut-brown
lass or lusty trull |
17-18: Juno
acknowledges that any attractive or lascivious female has the power to catch
the eye of any god, and cause him by respond by courting her aggressively. |
|
18 |
Have power perhaps to
make a god a bull. |
18: Juno seems to be
alluding to the story in which Jove turned himself into an attractive bull,
which allowed him to seduce the beautiful maiden Europa: while she stroked
him he carried her off on his back into the sea, and, after swimming to the
island of Crete, raped her. |
20 |
Venus. Gramercy,
gentle Juno, for that jest; |
20-21: Venus is
enjoying making Juno uncomfortable. |
I' faith, that item was
worth all the rest. |
Gramercy = thank you, from
the French grant merci. |
|
22 |
jest = story.1 |
|
Pall. No matter, Venus, howsoe'er you scorn, |
||
24 |
My father Jove at that
time ware the horn. |
= ie. "wore
horns;" Pallas may herself be hinting at the story of Europa, as she
describes Jove as literally wearing horns at the time he turned himself into
a bull; but she is also using an expression which suggests Juno was cheating
on Jupiter - a cuckolded husband was said to grow horns on his forehead. |
26 |
Juno. Had every wanton god above, Venus, not |
26-27: "luckily,
every lascivious god and goddess can easily |
Then heaven would be a
pleasant park, and Mars a |
great hunting ground (park),
and Mars would be a lewd |
|
28 |
||
Venus. Tut, Mars hath horns to butt withal, although |
29-30: Venus is not
flustered, gleefully attacking back. |
|
30 |
'A never needs to
mask in nets, 'a fears no jealous |
buck, gives Mars the
horns of a cuckold (Mars hath horns to butt withal), suggesting
that she has no compunction about playing around on the god of war. |
32 |
Juno. Forsooth, the better is his turn, for, if 'a speak |
32-33: "actually,
it would serve his purpose better to do so, because if he speaks too loudly
(ie. is too open or obvious |
Must find some shift
to shadow him, a net or else a |
about an affair he is
carrying on), he will need to find some means (shift) to hide
himself, either in a net (meaning either a neat [ie. bovine] or net)
or cloud." |
|
34 |
||
Pall. No more of this, fair goddesses; unrip not so |
34-36: Pallas
chastises Juno and Venus for publicly, and |
|
36 |
To stand all naked to
the world, that bene such |
= ie. "you who
are"; bene appears to be a monosyllable, |
38 |
Juno. Nay, Pallas, that's a common trick with Venus |
= ie. to stand naked
before the world; while Pallas' use of |
And all the gods in
heaven have seen her naked long |
figuratively, Juno
sneeringly applies its literal meaning to Venus, referring to the latter's
lack of inhibition with respect to her sexuality; as usual, Venus is more
proud than ashamed of her proclivities. |
|
40 |
||
Venus. And then she was so fair and bright, and lovely |
38: she
= meaning herself. |
|
42 |
As Mars is but for
Venus' tooth, and she will sport |
42: for Venus'
tooth = "to my taste", ie. liking. |
And, but me list
not here to make comparison with |
43: "and except
for the fact that I have no desire (list) to |
|
44 |
Mars is no ranger,
Juno, he, in every open grove. |
44: metaphorically,
"at least Mars doesn't run around on |
46 |
Pall. Too much of this: we wander far, the skies begin |
46-47: noticing a
storm approaching, Pallas suggests they |
Retire we to Diana's bower,
the weather will be foul. |
= bower
is a monosyllable here. |
|
48 |
||
A storm of thunder and lightning passes. |
||
50 |
Atι trundles the ball into place, |
50: Atι enters and,
unseen, rolls (trundles) the golden |
crying "Fatum Trojae," Juno takes it up. |
apple she was carrying with her in the Prologue
onto |
|
52 |
||
Juno.
Pallas, the storm is past and gone, and Phoebus |
= Phoebus
is an alternate name for Apollo, in his role as |
|
54 |
And, lo, behold
a ball of gold, a fair and worthy prize! |
= look! |
56 |
[Venus examines the ball closely.] |
56: stage direction
added by editor. |
58 |
Venus. This posy wills the apple to the fairest given be;
|
58: Venus notices a
short verse inscribed on the apple. |
Then is it mine, for
Venus hight the fairest of the three. |
= is called (ie. is
known to be). |
|
60 |
||
Pall. The fairest here, as fair is meant, am I, ye do me |
= "as the meaning
of the word fair is intended". |
|
62 |
And if the fairest
have it must, to me it doth belong. |
|
64 |
Juno. Then Juno may it not enjoy, so every one says |
64: so every one
says no = ie. "if everyone disagrees with |
But I will prove
myself the fairest, ere I lose it so. |
= before. |
|
66 |
||
[They read the posy.] |
67ff: each
deity will argue that fair is to be interpreted in a |
|
68 |
||
The brief is
this, Detur pulcherrimae, |
= writing.3 = "given to the most beautiful". |
|
70 |
Let this unto the
fairest given be, |
|
The fairest of the
three, − and I am she. |
||
72 |
||
Pall. Detur pulcherrimoe, |
||
74 |
Let this unto the
fairest given be. |
|
The fairest of the
three, − and I am she. |
||
76 |
||
Venus. Detur pulcherrimoe, |