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his own affliction of love-melancholy seems to others, so that a cure may be brought about. The method of Corax here, and in his treatment of Meleander, the old, partly demented father of Eroclea, later in the play, is the sort of mind-cure, the method of the Emmanuel Movement,' that is employed by the physician in the Antipodes.

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We need not, however, from this similarity, assume any influence of Ford's play on Brome. The masque in Lover's Melancholy is really a dramatization of passages from Burton's Anatomy of Melancholy (1621), which is, in fact, the source of the whole play. I think it very probable that the doctors in both plays are practitioners of the school of Burton. There are several passages in the Anatomy of Melancholy that might well have been the starting-point for Massinger, Ford, and Brome independently. Cures of the sort we are discussing would come under the head of artificial inventions' for rectifying the mind afflicted with some kind of ' melancholy.' 'Sometimes again by some feigned lie, strange news, witty device, artificial invention, it is not amiss to deceive them,'1 says Burton, who afterwards cites several strange cures of 'passions and perturbations of the mind.' None of them, however, directly suggest the method of the Antipodes. In another place, Martha's affliction and the means of her cure, are hinted at2: The several cures of this infirmity [women's melancholy], concerning diet, which must be very sparing, phlebotomy, physick, internal, external remedies, are at large in great variety in Rodericus à Castro, Sennertus, and Mercatus, which whosoe will, as occasion serves, may make use of. But the best and surest remedy of all is to see them well placed, and married to good husbands in due time; hinc ille lachrymæ, that is the primary cause, and this the ready cure, to give them content to their desires.' The fact that Brome was familiar with this passage from Burton is proved by a comparison of six lines of the play (1. 2, p. 239) with another passage in the same subsection' of Burton on the preceding page :

1 Part 2, Sect. 2, Mem. 6, Subs. 2.

2 Part 1, Sect. 3, Mem. 2, Subs. 4.

Indeed she's full of passion, which she utters
By the effects as diversly, as severall
Objects reflect upon her wandering fancy,
Sometimes in extream weepings, and anon
In vehement laughter; now in sullen silence,
And presently in loudest exclamations.

This is a paraphrase of the following Symptoms of Maids', Nuns', and Widows' Melancholy :

'And from hence proceed. a foolish kind of bashfulness to some, perverse conceits and opinions, dejection of mind, much discontent, preposterous judgment. They are apt to loathe, dislike, disdain, to be weary of every object, etc., each thing almost is tedious to them, they pine away, void of counsel, apt to weep, and tremble, timorous, fearful, sad, and out of all hope of better fortunes. . . . And thus they are affected so long as this vapour lasteth; but by and by as pleasant and merry as ever they were in their lives, they sing, discourse and laugh in any good company, upon all occasions, and so by fits it takes them now and then.'

Dr. Faust has mentioned another source for, or parallel to the method of curing Peregrine. He says:1' Die Kurmethode, welche der Arzt bei Peregrin anwendet, war nichts Neues im Drama; es ist doch dieselbe, deren sich der Doktor in the Two Noble Kinsmen bedient, um des Kerkermeisters Tochter wieder zur Vernunft zu bringen : scheinbares Eingehen auf die Wahnideen des Patienten.' There are two scenes of the Two Noble Kinsmen, 4. 3 and 5. 2, that I think are interesting parallels for the cure of Martha, but hardly close enough to indicate any direct influence. The doctor here again puts into practice Burton's principles for the cure of love-melancholy.2

1 Op. cit., p. 59.

2 The fact that the doctor in this underplot follows Burton's ideas closely may have some bearing on the question of the double authorship of the Two Noble Kinsmen. Hickson and Fleay divide the underplot between Shakespeare and Fletcher, giving 4. 3 to Shakespeare, and 5. 2 to Fletcher. Spalding gives the whole underplot to Fletcher (Rolfe's ed., p. 39 and notes, pp. 190 and 195). Now Shakespeare's part was written, of course, before the Anatomy of

The distraction of the jailer's daughter, which is as extreme as that of Ophelia, is caused by an unrequited passion for Palamon, of whom she talks continually. She is cured by soft lights, pleasant odors, sleep, etc., and by having her wooer impersonate Palamon. After the consummation of her marriage the madness disappears. It is only in this lastmentioned detail that the plot agrees with that of the Antipodes.1

Of minor influences discernible in the play we have the two marked Jonsonian humor-characters, Letoy and Joyless. Letoy, the fantastick lord' who is very conscious of his eccentricities, has no prototype in Jonson, but Brome has compounded his character after the recipe of the master. For Joyless, the groundlessly jealous husband, there are, of course, many precedents outside of Jonson, but in Kitely in Every Man in his Humor we have the same characteristic exaggerated for comic effect, that we see in Brome's absurd creation. Kitely, in the first scene of the second act in Jonson's play, regrets his own jealously as a disease from which he suffers, much as Joyless does in the last act of the Antipodes. Jonson's influence is further discernible in the introduction of projectors in 4.9 (pp. 308 ff).

Finally, there are three passages in the play that seem to be conscious verbal imitations. The scene in which Blaze tells Joyless of the doctor's famous cures (1. 1, pp. 234 ff.) is very like one in Marmion's Fine Companion (1633) 5. 2, where Aurelio disguised as a doctor tells how, without the aid of drugs, he cured the madness of an astrologer, a soldier, a Puritan chandler, a musician, a huntsman, and a poet. Letoy's advice to his actors in 2. 2 is undoubtedly reminiscent of

Melancholy (Schelling says 1612), but Fletcher, writing in 1625 (Fleay), four years after its appearance, may have been influenced by it. This might be a further argument for Spalding's view.

1 The madness of Peregrine and Martha is but one of several examples of different kinds of insanity in Brome's plays. It occurs in some form in Northern Lass, Queen's Exchange, Court Begger, and Queen and Concubine.

Hamlet's speech to his players.1 Both are directed against bombastic acting and interpolations into the text.

The passage from Brome is worth quoting in full :

Let. Let me not see you act now,

In your Scholasticke way, you brought to towne wi'yee,
With see saw sacke a downe, like a Sawyer ;
Nor in a Comicke Scene, play Hercules furens,
Tearing your throat to split the Audients eares.
And you Sir, you had got a tricke of late,
Of holding out your bum in a set speech;
Your fingers fibulating on your breast,
As if your Buttons, or your Band-strings were
Helpes to your memory. Let me see you in't
No more I charge you. No, nor you sir, in
That over-action of the legges I told you of,
Your singles, and your doubles, Looke you—thus-
Like one o'th' dancing Masters o'the Beare-garden;
And when you have spoke, at end of every speech,
Not minding the reply, you turne you round
As Tumblers doe; when betwixt every feat
They gather wind, by firking up their breeches.
Ile none of these absurdities in my house,
But words and action married so together,
That shall strike harmony in the eares and eyes
Of the severest, if judicious Criticks.

Qua. My Lord we are corrected.

Let.

Goe, be ready :

But you Sir are incorrigible, and

Take licence to your selfe, to adde unto

Your parts, your owne free fancy; and sometimes
To alter, or diminish what the writer

With care and skill compos'd: and when you are
To speake to your coactors in the Scene,
You hold interloquutions with the Audients.
Bip. That is a way my Lord has bin allow'd
On elder stages to move mirth and laughter.

Let. Yes in the dayes of Tarlton and Kempe,
Before the stage was purg'd from barbarisme,
And brought to the perfection it now shines with.

1 Hamlet 3. 2. Compare also Chapman's Gentleman Usher (1601 or 1602) 2. 1. 170.

Then fooles and jesters spent their wits, because
The Poets were wise enough to save their owne
For profitabler uses.
Let that passe.

The last example of borrowing to be pointed out is that in the passage in which Letoy tells of his ancestry (1. 5, p. 244). Here there is a close verbal reminiscence of Lafoole's in the Silent Woman 1. 4.1

By way of summary of the investigation of Brome's sources in the Antipodes, I think we may conclude that he deserves the credit of originating the idea at the basis of his comedy, possibly acting on the slight suggestions to be found for it in Jonson's masque, Lucian's Vera Historia, or in Mandeville. This last source he made free use of, at any rate, though possibly not as the germ of his idea. For the play within a play as a means of curing mental derangement, the Roman Actor is the most probable precedent, though the idea is to be found in the Anatomy of Melancholy, and two more dramas beside the one mentioned. Of minor imitations of passages the surest cases are those from Burton, Shakespeare, Jonson, and Marmion.

II. THE SATIRE OF THE ANTIPODES

Brome, following the principle of Jonson, is wholly impersonal in his satire. Jonson declared that he himself never departed from this principle, but it would be difficult to deny that in the Poetaster he actually did satirize individuals. Brome, however, although he of course has frequent allusions to contemporaries like Coryat and Prynne, has never in any of his extant plays characterized any but types or classes of men. The Antipodes has more satire in it than any other of his works, but the fun here is always of the most goodnatured sort.

Some of the minor points that are touched on satirically in the Antipodes are the ranting delivery and extemporal

1 Quoted above, p. 96.

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