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from the brother. Faust, I think makes too much of this resemblance; his closest parallel, New Academy Act 1, with City Madam 2. I, is not very convincing.1 The Bellamy episode in the Mad Couple well Matched is a variation of the changeling motive of Measure for Measure, but the Parliament of Love is nearer as a source.2 The similarity of the methods in which the play within a play is introduced into the plot of the Antipodes and of the Roman Actor will be treated at length in the consideration of the sources of the Antipodes.3

Middleton has a parallel to the pretended wealthy Widow Tryman, who, in the City Wit, has several men running after her for her money, in the courtesan in A Trick to catch the Old One. In the Court Begger (2. 1, p. 232), Citwit declines to resent an insult to his mother, on the ground that she is dead. If she were living,' he says, ' Why I would civilly ask her if she were a whore ? If she confess'd it, then he were in the right, and I ought not to fight against him for my cause were naught. If she deny'd it, then he were in an error, and his cause were naught, and I would not fight, 'twere better he should live to repent his error.' This passage suggests the situation of the Fair Quarrel.

4

Fletcher and Brome seem to touch in several places. I have already discussed their personal relations, but I think there may also be possibilities of influence. The Begger's Bush perhaps gave a hint for the outdoor spirit of the Jovial Crew. With the City Wit 3. 1, where Jeremy pretends to be the Widow Tryman who makes a will on her deathbed, may be compared the Spanish Curate 4.5, where Diego does the same thing. Constance,

1 Faust, op. cit., pp. 63–64.

2 Koeppel, Shakespeare's Wirkung, pp. 42-43; also QuellenStudien 2. 106 ff.

3 See Appendix I. 4 See above, p. 20. 5 Ward, op. cit., 3. 130.

in the Northern Lass, goes mad for love, like the jailor's daughter in the Two Noble Kinsmen.1 The main situation in this same play of Fletcher's is much like that of the Lovesick Court, where the princess Eudina is in love with two brothers, and unable to choose between them.2 Moreover, there is probably influence of King and No King on the Lovesick Court. The sister's love for her brother (3. 2) results in much the same situation as in Fletcher-that is, it is later discovered that the pair are not brother and sister.

Ford's 'Tis Pity may possibly have suggested this theme of incest.4 The same theme in the love of Offa for Mildred, in the Queen's Exchange, doubtless goes back to the same source. The strange Masque of Discord in the Antipodes (5. 10) indicates another influence of Ford, in the Masque of Madness in Lover's Melancholy (2. 3). Shirley, in his Lady of Pleasure 5. 1 (1635, pr. 1637) makes the student, Frederick, when drunk, court his aunt. A similar situation occurs in the Mad Couple well Matched 3. I (1636?), where the rake Careless courts his aunt, the Lady Thrivewell, the morning after he has come in drunk, and misbehaved. The similarity of the academy' of deportment in the New Academy and that in Lovetricks, or the School of Compliment, I have already spoken of in connection with the possible influence of the Staple of News or Cynthia's Revels.5

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Chapman's Cynthia, in his Widow's Tears, may have suggested Josina, a kind of Matron of Ephesus,' in the City Wit. The green-room scene in the Gentleman Usher

1 Ward, op. cit., 3. 128.

2

Schelling, Eliz. Drama 2. 336.

3 Faust (op. cit., p. 77) mentions this as the sole source.

4 Schelling (Eliz. Drama 2. 336), thinks the influence apparent enough to help determine the date of Ford's play.

2. 66.

See above, p. p. 68, n; 86.

Koeppel, Shakespeare's Wirkung, p. 43; and Quellen-Studien

(2.1) also bears some resemblance to that in the Antipodes (2. I, p. 258).

Marmion, I think, has undoubtedly been drawn on by Brome for two scenes. The resemblance of the English Moor 1.3 to the Fine Companion 2. 4 and 3. 5 is quite apparent. In both plays an avaricious father tries to make his young and unwilling daughter submit to a most unattractive, wealthy, old husband. The similarity of the recitals of the cures of the celebrated doctor in the Fine Companion (5. 2)1 and in the Antipodes (1. I, p.234) is too close to admit much doubt of borrowing on Brome's part.

From May's Heir (5. 1) the dénouement of the Sparagus Garden (5. 12), in which the heroine's pregnancy is found to be due to a concealed cushion, is evidently borrowed.2

Finally, the Lord Sycophant, in the old play Nobody and Somebody, seems to have been the prototype of Horatio, one of the new characters in the Queen and Concubine, not taken from the source.3

After glancing over these many pages of borrowings and influences of all sorts, many of them doubtful, I must admit, one gets the impression that Brome's work is a mere mosaic of filchings from his predecessors, and one may be inclined to agree with Faust that' Er ist, auch in Hinblick auf die Stoffe, vielleicht der am wenigsten selbständige dramatische Autor der Zeit.'4 However, if a study of such material were made for any other minor dramatist of the decadent period, Brome would hardly be found the worst plagiarist in an age in which plagiarism was neither considered a crime, nor thought of as furnishing dry bones for future scholars to gnaw.

1 See Appendix I.

2 Genest, op. cit., 10. 40. 3 Koeppel, Quellen-Studien 2. 209.

4 Faust, op. cit., p. 37.

APPENDIX

To give a more adequate idea of the character of Brome's work, and to show more fully to what an extent he is a follower of Jonson in satire, I have added a special study of a single play, the Antipodes. This is undoubtedly Brome's most original and most interesting play. It is also quite characteristic in the use of sources, in the humor, and in the type of the satire. In structure, however, it is totally unlike the rest of Brome's plays, and, is in fact, almost unique in drama. The plot is as follows:

Peregrine, a young man, the son of old Joyless, has lost his wits through the reading of books of travel, so popular during the seventeenth century. He has become so demented through thinking of nothing but strange countries and customs-like those described in Sir John Mandeville's Travelsthat he has forgotten everything else, even his duties toward his young wife, Martha. To cure his son, Joyless has brought him up to London to consult Hughball, a famous doctor, who undertakes the case. The doctor lives with Letoy, 'a Phantasticke Lord', who, for his own amusement, keeps a well equipped private stage, and a body of followers who are trained actors. The doctor has these actors present a series of scenes from the antipodes before Peregrine, who is persuaded to believe that he is really there. Most of the second, third, and fourth acts is taken up with these scenes. In the anti

podes, gentlemen in debt force sergeants to arrest them, servants rule masters, children rule their parents, poets are wealthy and Puritanical, lawyers refuse fees except from beggars, courtiers quarrel like clowns, and watermen and sedan-men have the manners of courtiers. A tradesman sues a judge to have a gentleman put into prison, because the gentleman has refused to intrigue with the trademan's wife; an old woman who is very fond of bear-baitings is harshly reproved by a young maid, a Puritan, who reads devotional tracts. In the next scene, the maid accosts a man on the

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street, but her advances are repelled ducked by a crowd of women. A statesman is solicited by a crowd of projectors with fantastic projects. In the midst of these scenes, Peregrine invades the property-room, and, after a fight with the pasteboard monsters, etc., makes himself king of the Antipodes. He proceeds to reform their manners, is persuaded to take his wife, Martha, as queen, and is finally cured of his madness. The love-melancholy of Martha is also cured by the long deferred consummation of her marriage.

Another interest in the plot is the curing of Joyless's jealousy of his young wife, Diana. This is the chief interest of the fifth act, though the jealousy is the cause of much humorous dialogue all through the play. The means of cure is crude. Joyless is placed in a position from which he overhears Lord Letoy make violently amorous proposals to Diana, who repulses him by stoutly maintaining her love for Joyless. Joyless is further convinced by the fact that Letoy is proved to be the father of Diana, who has been brought up from infancy by old Truelock, to whom Letoy had confided her. After these explanations, the play ends with a masque of Discord and Harmony.

1. SOURCES OF BROME'S ANTIPODES

The scientific fact of the existence of the antipodes and of people inhabiting there seems to have been known to Aristotle, and to many other writers of classical antiquity.1 Cicero, Pliny, and Ptolemy supported the theory; Lucretius and Plutarch opposed it. The conception persisted as a heretical belief throughout the Middle Ages, so that the Fathers felt it necessary to suppress it whenever it appeared. A good summary of the controversies of the church on the subject is given by Andrew D. White in his Warfare of Science and

1 The Pauly-Wissowa Real-Encyclopädie des Class. Altertums, under Antipodes, gives a long array of references.

2 Natural History, Bk. 2, ch. 65.

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