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Jisyv: 




GL' INGANNATI. 



THE DECEIVED: 



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PEBFOEMED AT SIENA IN 1531 




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AND 



AELIA LAELIi. CRISPIS. 






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T. L^p]^fi©^./ 



LONDON : 
CHAPMAN AND HALL, 193 PICCADILLY. 

1862. 



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1.0TIIDOK: PBINIED BT \T. CLOWFS AWB SONS, SIAUFORD 8TRBBT. 



PREFACE. 



Mr. Collier, in bis Annak of the Stage* published in 
1831, gives an account of a Diary, in which he fonnd 
recorded a performance of Shakspeare's Twelfth Night. 
" This Diary," he says, " I was fortunate enough to 
meet with among the Harleian MSS. in the Museum. 
It was kept by an individuai, whose name is nowhere 
given, but who seems to have been a barrister, and 
consequently a member of one of the Inns of Court. 
The dates, which are inserted with much particu- 
larity, extend from January, 1600-1, to Aprii, 1603: 
and when I state, that it includes originai and un- 
published anecdotes of Shakspeare, Spenser, Tarleton, 
Ben Jonson, Marston, Sir John Davis, Sir Walter 
Ealeigh, and others, it will not be dispnted that it is 
a very valuable and remarkable source of informa- 
tion... . . . 

" The period when Shakspeare wrote his Twelfth 
Night, or What you WiU, has been much dispnted 
among the commentetors. Tyrwhitt was inclined 
to fix it in 1614, and Malone was for some years 

♦ Voi. i., pages 327, 328. 



4 PBEFACE. 

of the same opinion : but he afterwards changed the 
date he had adopted to 1607. Chalmers thought he 
found circomstances in the play to justify him in 
naming 1613 ; but what I am abont to state affords a 
striking, and, at the same time, a rarely occiirring and 
convincing proof, how little these conjectures merit 
confidence. That comedy was unquestionably written 
before 1602, for in Febniary of that year it was an 
established play, and so much liked, that it was 
chosen for performance, at the Reader's Feast on 
Candlemas day, at the Inn of Court to which the 
author of this Diary belonged — most likely the 
Middle Tempie, which, at that date, was famous 
for its costly entertainments. After reading the 
following quotation, it is utterly impossible, al- 
though the name of the poet he not mentioned, to 
feel a moment*s doubt as to the identity of the play 
there described and the production of Shakspeare : — 

" ' Feb. 2, 1601-2. 

** ' At our feast we had a play called Twelve Night, 
or What you Will, much like the Comedy of En'ors, 
or Menechmi in Plautus, but most like and neere to 
that in Italian called Inganni. A good practice in it, 
to make the steward believe his lady widdowe * was 
in love with him, by counterfayting a letter, as from 
his lady, in general termos, telling him what she 
liked best in him, and prescribing his gestures, in- 
scribing his apparaile, &c., and then, when he came 
to practise, making him believe they took him to be 
mad.* 

" Should the Italian comedy, called Inganni, tum 

* Olivia is not a widow ; but the misprision is of no moment. 



mmmmmmmmmmmm^mmm^mmmmmm^ ■ 1^ mwmgm^mfmKmmmm 



PBEFAOE. 5 

iip, we shall probably fìnd in it the actual originai of 
Twelfth Night, which it has been hitherto supposed 
was fonnded upon the story of ApoUonius and Siila, 
in Bamabe Eiche'e Farewell to Military Profession, 
twice printed, viz. : in 1683 and 1606." 

Eiche'e Farewell was reprinted by the Shakspeare 
Society in 1846. The editor, after alluding to Ban 
dello's tale of Nicuola and Lattantio, and Belle- 
forest's French version of that tale, says : ** It seems 
more likely that Eiche resorted to Bandello ; bnt it 
is possible that this novel was one of those which 
had been dramatized before Eiche wrote, and if this 
were the case, it Would establish the new and im- 
portant fact, that a play on the same story as Twelfth 
Night, had been produced before 1581. 

" Two Italian comedies, upon very similar inci- 
dents, one called Inganni, and the other Ingannati, 
were certainly then in existence, and may bave 
foimed the groundwork of a drama, anterior to 
Shakspeare, in our own language. The names given 
by Eiche to the various personages are not those 
which occiir in Bandello, Belleforest, or the Italian 
comedies : neither are they the same as any used by 
Shakspeare. Eiche perhaps obtained them from the 
old English drama." 

If a play on the same snbject as Twelfth Night had 
been produced before 1581, it could scarcely bave es- 
caped the notice of the writer of the Diary. As to the 
two comedies, Gr Inganni and GV Ingannati, the latter 
was first in time, and claims to he strictly originai. 

The Ingannati was performed in Siena in 1531 ; the 
Inganni at Milan in 1547.* The first has most re- 

♦ GV Inganni, Comedia del Signor N. 8, [/8^ec/w], recitata in 



6 PEEFACE. 

semblaiice to Tuoelfth Night, and was probably in the 
mind of the author of the Diary, though he called it 
Inganni, That he could make a slight mìstake as to 
what was before him, is evident from his calling 
Olivia a widow. 

I first became acqtiainted with the Inganni in the 
French version of Pierre de Larivey, under the title 
of Les Tromperies, 1611. This French comedy had 
become very scarce ; but it has been republished in 
the Ancien Théàtre Frangais of the Bibliothèque Elzé- 
virienne,* I have since read the originai in the 
British Museum. 

The scene of the Inganni was laid in Italy. Lari- 
vey transferred it to France. I give the Italian 
argument. 

Anselmo, a merchant of Genoa, who traded with 
the Levant, went on a voyage to Syria, taking with 
him his wife and his twin children. Fortunato and 
Ginevra, aged four years, whom, for the convenience 



Milano r anno 1547, dinanzi alla Maestà del Be Filippo. In 
Fiorenza^ appresso i Criunti^ 1562 * 

Charles Y., before leaving Spaia in 1543, had given the title 
of king of Spain to his son Philip (Philip IT.) 

* The comedies of Larivey, nine in number, ali taken from 
the Italian, are ali reprinted in this coUection. Les Tromperies 
is the nìnth. The editor, M. VioUet Le Due, says : *' Les six 
premières comedies de Larivey obtinrent un grand succès, con- 
state par plusieurs éditions. Les trois dernières n'ont été im« 
prìmées qu*une fois, ce qui s'explique par la mort de Tauteur, 
et surtoat par cette circonstance, que ces trois pièces n'avoient 
pas, comme Ics premières, l'attrait de la nouveauté. Ce volume 
n'ayant eu qu'une seule édition, est devenue très rare, et se paie 
au poids de l'or dans les ventes publiques." — Tome v. p. xx. 



* This is the oldest cdltion 1 bave seen referred to. There are éditions in 
the British Museum of 1566, 1582, 1587, 1602, 1615. 



PBEFACE. 7 

of the sea passage, he dressed precisely alike, so that 
the girl passed for a boy. On the voyage, they were 
captured by Corsairs. Anselmo was taken into Na- 
tòlia, where he remained in slavery fourteen years. 
Fortunato was several times sold, but ultimately in 
Naples, where the scene is laid, and where he is 
serving Dorotea, a lady no better than she should 
be. The mother and Ginevra, after various adven- 
tures, were purchased, also in Naples, by Messer 
Massimo Caraccioli. The mother had deemed it 
prudent to continue the male apparel of her daughter, 
and through her the brother and sister had been 
made known to each other. The mother had died 
six years previously to the opening of the comedy. 
Ginevra had taken the name of Koberto. Massimo 
has a son named Gostanzo, and a daughter named 
Portia. Portia is in love with the supposed Eoberto, 
and Gostanzo with Dorotea, who return s his attach- 
ment, but her mother, G illetta, a rapacious and 
tyrannical woman, forbids him the house, after she 
has extorted from him ali the money he could dis- 
pose of. Ginevra, persecuted by the love of Portia, 
srauggles her brother Fortunato into the house, and, 
when occasion serves, substitutes him for herself. 
At the opening of the play, Portia is on the point 
of inoreasing the population of Naples. Ginevra is 
in doublé grief, fearing the anger of Massimo, and 
suffering under her own love for Gostanzo, seeing 
his love for Dorotea. In despair, she discovers her- 
self to Gostanzo, who transfers his love to her, and 
Anselmo arrives, abundantly rich, in time to appease 
the wrath of Massimo, and unite Gostanzo to Ginevra, 
and Fortunato to Portia. 



8 PBEFACE. 

In ali this, what little there is of resemblance 
to Twelfth Night, Ì8 taken, as will be presently 
seen, and not changed for the better, firom the In- 
gannati. 

Much of thÌ8 comedy is borrowed, in parts olosely 
translated, from the Asinaria of Plautus. Cleaereta, 
the mother ; Philenium, the daughter ; Argyrippus, 
the lover ; are reprodnced in Gilletta, Dorotea, and 
Gostanzo. So are the old physician and bis wife 
reproductions of the old man Demaenetus, and bis 
wife Artemona. The scenes of the Asinaria, between 
Cleaereta and Argyrippus, Act i., Scene 3 ; Cleaereta 
and Philenium, Act iii., Scene 1 ; the portion of Act 
iii., Scene 3, which is between Argyrippus and Phi- 
lenium ; the concluding scene, in which Artemona 
oarries off Demaenetus from the house of Cleaereta, 
Act V., Scene 2 ; are copied in the Inganni, in the 
scenes between Gostanzo and Gilletta, Act i., Scene 1 ; 
between Gilletta and JDorotea, Act ii.. Scene 2 ; between 
Gostanzo and Dorotea, Act ii.. Scene 5 ; and in the 
concluding scene, in which the physician's wife 
carries off her husband from the house of Gilletta, 
Act V., Scene Vò. 

There is also ,a captain of the Bobadil order, who 
is imposed on and fleeced by Gilletta and Dorotea, 
and afterwards, fìnding the house barred against 
him, besieges it, as Terence's Thraso does the house 
of Thais,* and is as easily repulsed. There are 

* Thraso, Hancine ego ut contumeliam tam insignem in me 
acciìpiam, Gnatho ? 
Morì me satius ent. Simalio, Donax, SyrìBce, seqiiimini. 
Primum aedeis expugnabo. — Eunuchusy Actus iv., Scena 7. 

Le Capitaine. Ha ciel I qu'il me faille endurer un tei afiront ! 
Allons chercber le capitaine Taiibras, le capitaine 



PBEFACE. 9 

other gatherings from the Latin drama. The 
comedy, in short, thoiigh very entertaining, has no 
originai ity. 

It seems strange that the Inganni should have re- 
mained undiscovered by Shakspearian critics: but 
the cause which concealed the Ingannati from their 
researches, is somewhat curious. It appears with 
the title Comedia del Sacrificio degli Intronati, The 
Sacrificio is a series of songs to music, in which various 
characters, who have suffered from *' the pangs of 
despised love," renounce love, and each in succession 
sacrifices on an aitar some gift or memorial of his un- 
kind or faithless mistress. This prelude, which has 
no relation whatever to the comedy, being concluded, 
the comedy foUows, with its own proper title Gl^ In- 
gannati, 

There are many editions of this comedy. The 
earliest of which I have yet found a record, is of 
1537. It is not probable that this was the first. 
There were others of 1538, 1550, 1554, 1562, 1563, 
1569, 1585. Four of these are in the British 
Museum; and one, //* Venstia^ without date. And 
it was included in coUections ; one, containing ali 
the comediee of the Intronati, 1611 ; another, with 
four other comedies and notes by Kuscelli, which I 
find mentioned without the date. The title of an 
edition in my possession, is, Comedia del Sacrificio de 
gli Intìntati, Celebrato ne i giuochi dH un Carnowk in 



Brìsecuisse, Brafort, Cachemaille, PìiiQargent, Grìppetout, et 
mes autres amifi ; puis retoumons faire bravade à ces poltronnes. 
— Les TroTìtperiea, Ade iv., Scène 2. This version ìs better 
than the coriesponding Italian. 



10 PBEFACE. 

Siena, TAimo MDXXXI. Sotto H Sodo,* dignissimc 
ArchìntTonato. Di nuovo corretta e ristampata. In 
Venetia, appresso Francesco Rampazetto, MDLXII.f 
GV Intronati, the Thunder-stncken, was an Academy in 
Siena, which distinguished itself at that period by 
dramatic prodnctions. The Italian Academies gave 
themselves fantasticai names, / Caliginosi, I Dubbiosi, 
I Chimerici : The Dark, the Doubtful, the Chimerical, and 
so forth. Their members assnmed conformable 
appellations. X' Amor Costante, a comedy performed 
at Siena, before the Emperor Charles V., in 1536,J 
is given in the title as by Signor Stordito,^ Intronato ; 
Master Stunned of the Thunder-stricken, This comedy 
is introduced by a dialogue, between the Prologue 
and a Spaniard, in the course of which the Spaniard 
inqnires — 

Who is the author of the comedy ? Is it the most divine 
Pietro Aretino ? || 

Prologue, The author is a member of an academy, which has 
been in Siena many years. 

Spaniard. What is the name of this academy ? 

Prologue, The academy of the Intronati. 

Spaniard. The Intronaiif The fame of this academy has 



* Marcantonio Piccolomini. 

t There was a French translation of GV Ingannati, under the 
title of Les Ahuaez, by Charles Estienne ; of which there appetu* 
to haye been three editions : Lyon, 1543 ; Paris, 1549 and 1558. 

t In a Venetian reprint before me, the date of the first per- 
formance is given as 1531 ; but the play has many historical 
indications which determine the time. One will suffiée. The 
action passes in the pontificate of Paul III., and iwo years after 
the death of Olement VII., who died in 1534. 

§ Alessandro Piccolomini. 

Il Pietro Aretino had produced two of bis five comedies before 
1536. 



PEEFAOE. 11 

spread through ali parta of Spain ; and ita name has gone so far, 
that it has reached the ears of the emperor. How rejoiced 
shoiild I be if I could belong to this academy ! And if you 
would have me bound to you for the whole time of my life, 
place me among you. 

Frologue. If you are dìsposed to observe our rules, I will 
gladly exert myself on your behalf . 

Spaniard, What are the rules ? 

Prologue. Few and simple. To seek knowledge and wisdom ; 
to take the world as it comes : to be the affectionate and devoted 
slave of these ladies :* and, for the love of them, to make now 
and then a comedy, or some other work, to show our implicit 
submission. 

Spaniard, These rules are greatly to my mind ; and ìf I can 
obtain the fovour of being placed in the academy, I will most 
faithfully observe them ali. 

EenoTiard, in the Bibliothèqvs d'un Amateur {Paris, 
1819, toTìie ni», pp. 109 — 119), gives a list of Italian 
dramas in bis possession, whioh he introdnces with 
the foUowing notice : — 

** Le XVI* siècle produisit une multitude innom- 
brable de pièces dramatiques italiennes, qui actuelle- 
ment se lisent peu : beaucoup d'entre elles continuent 
cependant à étre recherchées des Italiens, soit pour 
la parete du style, qualité par laquelle beaucoup se 
distinguent, soit méme pour leur bizarrerie, et 

* The Intronati were especially devoted to the service of the 
ladies. The Prologue of the Ingannati addresses the ladies 
only. Io vi veggio fin di qua, nobilissime donne, meravigliare 
di vedermivi cosi dinanzi, in questo hahito, ed insieme di questo 
apparecchio, coTne se noi havessimo a fare qualche comedia. 

I see you, even from hence, most noble ladies, iDonder at 
seeing me thus hefore you, in this dress, and also at these prepara- 
tions, as if we were ahout to produce some comedy. 

The prologues of other comedies of the period address the 
speotators generally. 



12 PBEFAOE. 

Bouvent pour la seule rareté des exemplaires. Ne 
voulant point ioi faire collection de ce genre de 
pièces,. on a seulement choisi panai celles que Ton a 
crues recommandables par auoune de ces diverses 
causes, et Ton n'a admis aucun exemplaire qui ne soit 
de parfaite conservaiion." 

The list of dramas includes twenty comedies of the 
sixteenth century ; two of which are the Ingannati 
and Inganni^ the former with the usuai title page, 
CoTnedia del Sacrificio, without date. The Inganni is 
given as nvmamente ristampata. In Fiorenza, 1568. 

To return to the Ingannati, The Prologue says: 
" ITie fable is new : never before seen nor read : nor 
drawn from any other source than the industrious 
brains of the Academicians of the Intronati," 

This, therefore, we may fairly assume to be the 
originai source, from which ali other versions of the 
elements of the story are drawn ; the elements being 
these : 

A girl assumes male apparel, and enters as a page 
into the service of a man, with whom she either pre- 
viously is, or subsequently becomes, in love. He em- 
ploys her as a messenger to a lady, who will not listen 
to his Buit. The lady falls in love with the supposed 
page, and, under the infiuenee of a mistake, marries 
the girl's twin brother. The lover transfers his aflFec- 
tion to the damsel, who has served him in disguise. 

I propose to translate the scenes in which these 
four characters are principally concemed, and to 
give a connecting outline of the rest. 

The originai has no stage directions, and the 
scenes have no indication of place. I have inserted 
some stage directions, and have indicated the place» 



PBEFAOE. 1 3 

of the action, on what appeared to me probable 
grounds. 

The house of Virginio is too far from the house of 
Gherardo, to be shown in the same Street. This is 
apparent from several passages, especially from 
Act iv., Scene 7, where Virginio asks Gherardo to 
take in his supposed daughter, because he cannot 
take her to his own house without her being seen in 
male apparel by ali the city. 

The house of Gherardo is near the hotels. 

The house of Flaminio is in a distinct locality 
from both. It is clearly not under observation from 
either. 

I have, therefore, marked three changes of scene : 

A Street, with two hotels, and the house ol 
Gherardo. 

A Street, with the house of Flaminio. 

A Street, \vith the house òf Virginio. 



THE DECEIVED. 



DEAMATIS PEESON^ 



Ghebabdo Foiani, an old man, father of IsabéUa, 

ViBomio Bellexzini, an old man, faiher of Lelia and Fabrizio. 

Flamikio de' Gaaandini, in love mfh Isabella, 

Fabrizio, san of Virginio, 

Messeb Piebo, a pedant, tutor of Fabrizio, 

L* Agiato, ) 

Fbuella, 1 rivai hotel-keepers. 

Giglio, a Spaniard. 
Spela, eervant of Gherardo, 
ScATizzA, servant of Virginio, 
Gbiyello, servant of Flaminio, 
Stbagualcia, servant of Fabrizio, 

Lelia, daughterof Virginio, disguised as apa^e, under (he nume 

of Fabio, 
Isabella, daughter of Gherardo. 
Olementia, nurse of Lelia, 
Pasquella, housékeeper to Gherardo. 
GiTTiNA, a girl, daughter of ClemenHa, 



The Scene it in Modena. 



THE DECEIVED. 



ACT I. 

SCENE L—A Street, with the house of Virginio. 

Virginio and Gherardo. 

Virginio is an old merchant, who has two children, 
a son and a daughter, Fabrizio and Lelia. He has 
lost his property and his son in the sack of Eome, 
May 1527, when his daughter had just finished her 
thirteenth year. The comedy being perfonned in 
the Carnival of 1531, the girl is in her seventeenth 
year. Another old man, Gherardo, who is wealthy, 
wishes to marry her, and the father assents, pro- 
vided the maiden is willing. Gherardo thinks 
that the father's will onght to be suflficient, and 
that it only rests with him to make his daughter 
do as he pleases. 

SCENE II. 

Virginio and Clementia. 

Virginio, having shortly before gone on business 
to Bologna, in company with a Messer Buonaparte 
and others, had left Lelia in a convent with her 
Annt Camilla, and now, in the intention of her 

e 



1 8 THE DEOEIVED. [act i. 

marriage, desires Lelia's nurse, Clementia, to go to 
the convent to bring her home. Clementia must 
first go to mass. 



SCENE III.— 4 Street, with the house of Flaminio. 
Lelia, afterwards Clementia. 

Lelia (in mede apparel), It is a great boldness in me, 
that, knowing the licentious customs of these wild 
youths of Modena, I should venture abroad alone at 
this early hour. What would become of me, if any one 
of them should suspect my sex ? But the cause is my 
love for the cruel and ungrateful Flaminio. Oh, what 
a fate is mine I I love one who hates me. I serve 
one who does not know me: and, for more bitter 
grief, I aid him in his love for another, without any 
other hope than that of satiating my eyes with his 
sight. Thus far ali has gone well : but now, how 
can I do ? My father has retumed. Flaminio has 
come to live in the town. I can soarcely hope to 
continue bere without being discovered : and if it 
should be so, my reputation will be blighted for 
over, and I shall become the fable of the city. 
Therefore I ha ve come forth at this hour to consult 
my nurse, whom, from the window, I bave seen 
coming this way. But I will first see if she knows 
me in this dress. (^Clementia enters,) 

Clementia. In good faith, Flaminio must be retumed 
to Modena ; for I see his door open. Oh ! if Lelia 
knew it, it would appear to her a thousand years till 
she came back to her father's house. But who is 
this young coxcomb that keeps crossing before me, 
baokward and forward ? What do you mean by it ? 



SCENE m.] THE DECEIVED. 19 

Take yourself ofif, or I will show you how I like 
such cbaps. 

Lelia, Good moming, good mother. 

Clementia. I seem to know this boy. Teli me, 
where can I bave seen yon ? 

Lelia, You pretend not to know me, eb ? Come a 
little nearer : nearer stili : on tbis side. Now ? 

Clementia, Is it possible ? Can you be Lelia ? Ob, 
misery of my life ! Wbat can tbis mean, my cbild ? 

Lelia, Ob I if you cry out iu tbis way, I must go. 

Clementia. Is tbis tbe bonour you do to your fatber, 
to your bouse, to yourself, to me, wbo bave brougbt 
you up ? Come in instantly. You sball not be seen 
in tbis dress. 

Lelia, Pray bave a little patience. 

Clementia, Are you not asbamed to be seen so ? 

Lelia. Am I tbe first? I bave seen women in 
Eome go in tbis way by bundreds. 

Clementia, Tbey must be no better tban tbey 
sbould be. 

Lelia, By no means. 

Clementia. Wby dò you go so ? Wby bave you leffc 
tbe convent ? Ob ! if your fatber knew it, be would 
kill you. 

Lelia. He would end my affliction. Do you tbink 
I value life ? 

Clementia. But wby do you go so ? Teli me. 

Lelia. Listen, and you sball bear. You will tben 
know bow great is my affliction, wby I bave left tbe 
convent, wby I go tbus attired, and wbat I wisb you 
to do in tbe matter. But step more aside, lest any 
one sbould pass wbo may recognize me, seeing me 
talking witb you. 



20 THE DEC3EIVED. [act i. 

Clementia, You destroy me with impatience. 
Lelia, You know that after the miserable Back of 
Roxne, my father, having lost everything, and with 
his property my brother Fabrizio, in order not to be 
alone in his house, took me from the service of the 
Signora Marchesana, with whom he had placed me, 
and, constrained by necessity, we retumed to our 
house in Modena to live on the little that remained 
to US bere. You know, also, that my father, having 
been considered a friend of the Count Guido Eangon,* 
was not well looked on by many. 

Clementia, Why do you teli me what I know better 
than you? I know, too, for what reason you left 
the city, to live' at our farm of Fontanile, and that I 
went with you. 

Lelia, You know, also, how bitter were my feel- 
ings at that time : not only remote from ali thoughts 
of love, but almost from ali human thought, con- 
sidering that, having been a captive among soldiers, 
I could not, however purely and becomingly I might 
live, escape malicious observations. And you know 
how often you scolded me for my melancholy, and 
exhorted me to lead a more cheerful life. 

Clementia, If I know it, why do you teli it me? 
Go on. 

Lelia. Because it is necessary to remind you of ali 
this, that you may understand what follows. It 
happened at this time that Flaminio Carandini, from 
having been attached to the same party as ourselves, 
foimed an intimate friendship with my father, came 
daily to our house, began to admire me secretly, 

* This conni makes a oonspicuous fig^e in Gnicciardini's 
History. 



scEios m.] THE DEOEIVED. 21 

then took to sighìng and casting down hifl eyes. By 
degrees I took increasing pleasure in his manners 
and conversatiou, not, however, even dreaming of 
love. But hìs continuous visits, and sìghs, and signs 
of admìration at last made me aware that he was not 
a little taken with me, and I, who had never felt 
love before, deeming him worthy of my dearest 
thonghts, became in love with him so strongly that 
I had no longer any delight but in seeing him. 

Clemerdia. Muoh of this I also knew. 

Lelia. You know, too, that when the Spanish 
soldiers left Eome my father went there, to see 
if any of our property remained, but, stili more, to 
see if he could leam any news of my brother. He 
sent me to Mirandola, to stay, till his return, with 
my Aunt Giovanna. With what grief I separated 
myself from my dear Flaminio you may well say, 
who so often dried my tears. I remained a year at 
Mirandola, and on my father's return I came back to 
Modena, more than e ver enamoured of him who was 
my first love, and thinking stili that he loved me as 
before. 

Clementia. Oh, insanity ! How many Modenese 
bave you found Constant in the love of one for a 
year ? One month to one, another month to another, 
is the extent of their devotion. 

Lelia. I met him, and he scarcely remembered me, 
more than if he had never seen me. But the worst 
of it is, that he has set his heart on Isabella, the 
daughter of Gherardo Foiani, who is not only very 
beautiful, but the only child of her father, if the 
crazy old fellow does not marry again. 

Clementia,- He thinks himself certain of having you, 



22 THE DEOETVED. [act i. 

and says, that your father has promised you to him, 
But ali this does not explain to me why you bave 
left the convent, and go about in male apparel. 

Ldia. The old fellow certainly shall not have me. 
But my father, after his return from Rome, having 
business at Bologna, placed me, as I would not return 
to Mirandola, in the convent with my cousin Amabile 
de' Cortesi. I found, that among these reverend 
mothers and sisters, love was the principal subject of 
conversation. I therefore felt emboldened to open my 
heart to Amabile. She pitied me, and found means to 
bring Flaminio, who was then living out of the town, 
in a palazzo near the convent, several times to speak 
with ber and with others, where I, concealed behind 
curtains, might feast my eyes with seeing him, and 
my ears with hearing him. One day, I heard him la- 
menting the death of a page, whose good service he 
highly praised, saying how glad he shouid be if he 
could find such another. It immediately occurred to 
me, that I would try to supply the vacant place, and 
Consulting with Sister Amabile, she encouraged me, 
instructed me how to proceed, and fitted me with some 
new clothes, which she had had made, in order that 
she might, as others do, go out in disguise about her 
own aflFairs. So one moming early, I left the convent 
in this attire, and went to Flaminio's palazzo. There 
I waited till Flaminio came out: and Fortune be 
praised, he no sooner saw me, than he asked me most 
courteously, what I wanted, and whence I came. 

Clementia, Is it possible that you did not fall dead 
with shame ? 

Lelia. Far from it, indeed. Love bore me up. I 
answered frankly, that I was from Home, and that 



SCENE m.] THE DECEIVED. 23 

being poor, I was seeking service. He examined me 
several times from head to foot so eamestly, that I 
was almost afraid he would know me. He then said, 
that if I pleased to stay with him, he would receive 
me willingly and treat me well ; and I answered, that 
I wonld gladly do so. 

Clementia, And what good do you expect from this 
madprooeeding? 

Lelia. The good of seeing him, hearing him, talking 
with him, leaming his secrets, seeing his com- 
panions, and being srg:e that if he is not mine, he is 
not another's. 

Clementia. In what way do you serve him ? 

Lelia. As his page, in ali honesty. And in this 
fortnight that I have served him, I have become so 
much in favour, that I almost think appearing in my 
tme dress wonld re vive his love. 

Clementia. What will people say when this shall be 
known? 

Lelia. AVho will know it, if you do not teli it? 
Now what I want you to do is this: that, as my 
father retumed yesterday, and may perhaps send for 
me, you would prevent his doing so for four or five 
days, and at the end of that time I will return. You 
may say, that I have gone to Beverino with Sister 
Amabile. 

Clementia. And why ali this ? 

Idia. Flaminio, as I have already told you, is 
enamoured of Isabella Foiani ; and he often sends me 
to her with letters and messages. She, taking me for 
a young man, has fallen madly in love with me, and 
makes me the most passionate advances. I pretend 
that I will not love her, unless she can so manage as 



24 THE DEOEIVED. [act i. 

io bring Flaminio's pursuit of her to an end : and I 
hope that in three or fonr days he will be broTight to 
give her np. 

Clementia, Yonr father has sent me for yon, and I 
insist on yonr coming to my house, and I will send 
for your clothes. K you do not come with me, I will 
teli your father ali abont you. 

Lelia. Then I will go where neither you nor he 
shall ever see me again. I can say no more now, for 
I hear Flaminio cali me. Expect me at your house 
in an hour. Eemember, that I cali myself Fabio 
degl' Alberini. I come. Signor. Adieu, Clementia. 

Clementia (alone). In good faith, she has seen Ghe- 
rardo coming, and has run away. I must not teli her 
father for the present, and she must not remain where 
she is. I will wait till I see her again. 

SCENE IV. 

Gherardo, Spela, and Clementia. 

In this scene, Clementia makes sport of the old 
lover, treating him as a sprightly youth. He swal- 
lows the flattery, and echoes it in rapturous speeches, 
while his servant. Spela, in a series of asides, ex- 
hausts on his foUy the whole vocabulary of anger and 
contempt. 

SCENE V. 

Spela and Scatizza. 

Spela, at first alone, soliloquizes in ridicule of his 
master. Scatizza, the serrant of Virginio, who had 
been to fetch Lelia from the convent, enters in great 
wrath, having been laughed at by the nuns, who told 



ACT II.] THE DECEIVED. 25 

him ali sorts of contradictory stories respecting ter ; 
by which he is so bewildered, that he does not know 
what to say to Virginio. 



ACT II. 

Scene T. — T/ie Street, with the house of Flaminio^ 
Lelia (as Fabio) and Flaminio. 

Flaminio. It is a strange thing, Fabio, that I bave 
not yet been able to extract a kind answer from this 
cruel, this ungrateful Isabella, and yet her always 
receiving you gracionsly, and giving you willing 
audience, makes me think that she does not altogether 
hate me. Assnredly, I never did anything, that I 
know, to displease her ; and you may judge, from her 
conversation, if she has any cause to complain of me. 
Eepeat to me what she said yesterday, when you 
went to ber with that lettor. 

Lelia. I bave repeated it to you twenty times. 

Flaminio, Oh repeat it to me once more. What can 
it matter to you ? 

Lelia, It matterà to me this, that it is disagreeable 
to you, and is, therefore, painful to me, as your ser- 
vant, who seek only to please you ; and perhaps these 
answers may givo you ill-will towards me. 

Flaminio, No, my dear Fabio ; I love you as a 
brother: I know you wish well to me, and I will 
never be wanting to you, as time shall show. But 
repeat to me what she said. 



26 THE DECEIVED. [acìt n. 

Lelia, Have I not told you? That the greatest 
pleasure you can do her is to let her alone ; to think 
no more of her, because she has fixed her heart else- 
where : that she has no eyes to look on you ; that you 
lose your timo in foUowing her, and will find yourself 
at last with your hands full of wind. 

Flaminio, And does it appear to you, Fabio, that she 
says these things from her heart, or, rather, that she 
has taken some oflFence with me ? For at one time 
she showed me favour, and I cannot believe that she 
wishes me ili, while she accepts my letters and my 
messages. I am disposed to foUow her till death. 
Do you not think me in the right, Fabio ? 

Lelia, No, signor. 

Flaminio, Why? 

Lelia, Because, if I were in your place, I should 
expect her to receive my service as a grace and an 
honour. To a young man like you, noble, virtuous, 
el^ant, handsome, can ladies worthy of you be 
wanting ? Do as I would do, sir : leave her ; ,and 
attach yourself to some one who will love you as you 
deserve. Such will be easily found, and perhaps as 
handsome as she is. Have you never yet found one 
in this country who loved you ? 

Flaminio. Indeed I have, and especially one, who 
is named Lelia, and of whom, I have often thought, 
I see a striking likeness in you : the most beautiful, 
the most accomplished, the most courteous young 
person in this town : who would think herself happy, 
if I would show her even a little favour : rich, and 
well received at court. We were lovers nearly a 
year, and she showed me a thousand favours : but 
she went to Mirandola, and my fate made me 



SCENE I.] THE DECEIVED. 27 

enamoured of Isabella, who lias been as cruel to me 
as Lelia was gracious. 

Lelia. Master, you deserve to suffer. If you do 
not value one who loves you, it is fitting tbat one 
you love sbould not value you. 

Flaminio, Wbat do you mean ? 

Lelia, li you first loved tbis poor girl, and if sbe 
loved and stili loves you, wby bave you abandoned 
ber to foUow anotber ? Ab, Signor Flaminio I you 
do a great wrong, a greater tban I know if God can 
pardon. 

Flaminio., You are a cbild, Fabio. You do not 
know tbe force of love. I cannot belp myself. I 
must love and adore Isabella. I cannot, may not, 
will not tbink of any but ber. Tberefore, go to ber 
again : speak witb ber : and trj»^ to draw dextrously 
from ber, wbat is tbe cause tbat sbe will not see me. 

Lelia. You will lose your time. 

Flaminio. It pleases me so to lose it. 

Lelia, You will do notbing. 

Flaminio. Patience. 

Ldia. Pray let ber go. 

Flaminio, I cannot. Go, as I bid you. 

Lelia, I will go, but — 

Flaminio, Eetum witb tbe answer immediately. 
Meanwbile I will go in. 

Lelia, Wben time serves, I will not fail. 

Flaminio. Do tbis, and it will be well for you. 



28 THE DEOEIVED. [act n. 

SCENE II. 
Lelia and Pasquella. 

Lelia. He has gone in good time, for here is Pas- 
quella coming to look for me, [Lelia retires. 

Pasquella. I do not think there is in the world a 
greater trouble, or a greater annoyance, than to serve 
a young woman like my mistress, who has neither 
mother nor sisters to look after her, and who has 
fallen ali at once into snch a passion of love, that she 
has no rest night or day, but runs about the house, 
now up stairs, now doTni, now to one window, now 
to another, as if she- had quicksilver in her feet. 
Oh ! I have been young, and I have been in love : 
but I gave myself some repose. At least, if she had 
fallen in love with a man of note, and of fitting 
years : but she has taken to doting on a boy, who, 
I think, could scarcely tie the points of his doublet, 
if he had not some one to help him : and every day, 
and ali day, she sends me' to look for him, as if I had 
nothing to do at home. But here he is, happily. 
Good day to you, Fabio. I was seeking you, my 
charmer. 

Lelia. And a thousand crowns to you, Pasquella. 
How does your fair mistress ? 

Pasquella. And how can you suppose she does? 
Wastes away in tears and lamentations, that ali this 
moming you have not been to her house. 

Lelia. She would not have me there before day- 
break. I have so^iething to do at home. I have a 
master to serve. 

Pasquella. Your master always wishes you to go 



SCENE n.] THE DECEIVED. 29 

there : and my mistress entreats you to come, for ber 
father is not at home, and she has something of con- 
sequence to teli you. 

Lelia. Teli ber she must get rid of Flaminio, or I 
shall min myself by obeying ber. 

Fasquella, Come, and teli ber so yourself. 

Lelia, I bave sometbing else to do, I teli you. 

Pasquélla. It is but to go, and return as soon as 
you please. 

Lelia, I will not come. Go, and teli ber so. 

Pasquélla, You will not ? 

Lelia, No, I say. Do you not bear ? No. No. No. 

Pasquélla, In good faitb, in good trutb, Fabio, 
Fabio, you are too proud : you are young : you do 
not know your own good: tbis favour will not 
last always ; you will not always bave sucb rosy 
cbeeks, sucb ruby lips : wben your beard grows, you 
will not be tbe pretty pet you are now. Tben you 
will repent your folly. How many are tbere in tbis 
city, tbat would tbink tbe love of Isabella tbe 
cboicest gift of beaven I 

Lelia. Tben let ber give it to tbem : and leave 
alone me, wbo do not care for it. 

Pasquélla, Ob, beaven ! bow true is it, tbat boys 
bave no brains. Ob, dear, dear Fabio, pray come, 
and come soon, or sbe will send me for you again, 
and will not believe tbat I bave delivered ber 
message. 

Lelia. Well, Pasquélla, go bome. I did but jest. 
I will come. 

Pasquélla. Wben, my jewel ? 

Lelia. Soon. 

Pasquélla. How soon ? 



30 THE DECErVED. [act n. 

Lelia, Immediately : go« 
PasqmUa. I Bhall expect you at the door, 
Lelia, Yes, j-es. 

PasqueUa,. If you do not come, I shall be very 
angry. 

^CENE III, — A Street, with two hotds and the house of 

Gherardo, 

Giglio (a Spaniard) and Pasquella. 

Giglio, who is in love with Isabella, and longs for 
an opportunity of speaking to her without wìtnesses, 
tries to cajole Pasquella into' admitting him to the 
house,* and promises her a rosary, with which he is 
to return in the evening. She does not intend to 
admit him, but thinks to trick him out of the rosary. 
He does not intend to givo her the rosary, but thinks 
to delude her by the promise of it. 

SCENE IV, —The Street, with the lume of Flaminio. 

Flaminio, Crivello, and Scatizza. 

Flaminio, You have not been to look for Fabio, and 
he does not come. I do not know what to think of 
his delay. 

Crivello, I was going, and you called me back. 
How am I to blame ? 

Flaminio, Go now, and if he is stili in the house of 
Isabella, wait till he comes out, and send him home 
instantly. 

* Por mia vida, que està es la Yieìa biene ayyeiiturada, qne 
tiene la mas hermosa moza d' està tierra per sua ama. O se le 

puodiesse io ablar dos parabla? sin testig^ Quiero yeer 

se puode con alguna lisenia, pararme tal con està vieia ellacca 
oh alcatieta que me aga al canzar alge con ella. 



SCENE IV.] THE DECEIVED. 31 

Crivello. How aliali I know if he is there or laot ? 
You would not bave me kaock and inquire ? 

Flaminio. I bave not a servant wortb bis salt, but 
Fabio. Heaven grant me favour to reward bim. 
Wbat are you muttering, blockbead ? Is it not true ? 

Crivello. Wbat would you bave me say ? Of course 
I say, yes. Fabio is good : Fabio is bandsome : 
Fabio serves well : Fabio witb you : Fabio witb 
your lady : Fabio does everytbing : Fabio is every- 
tbing. But — 

Flaminio. Wbat do you mean by but ? 

Crivello. He is too mucb trusted : be is a stranger, 
and one day be may disappear, witb sometbing wortb 
taking. 

Flaminio. I wisb you otbers were as trustworthy. 
Yonder is Scatizza. Ask bim if be bas seen Fabio : 
and come to me at the bank of tbe Perini. 

Tbe scene terminates witb a few words between 
Crivello and Scatizza. 

SCENE Y.— Spela soliloquizes on tbe folly of 
Gherardo, wbo bad sent bim to buy a bottle of per- 
fume; and some young men in tbe sbop, under- 
standing for wbom it was wanted, bad told bim 
be bad better buy a bottle of assafoetida. 

SCENE YI. — The Street with the hotels and the house of 

Gherardo. 

Crivello, Scatizza, Lelia, and Isabella. 

Crivello and Scatizza are talking of keeping Car- 
nival at tbe expense of tbeir masters, wben Gberardo's 
door opens, and tbey stand back. Lelia and Isabella 
enter from tbe bouse of Gherardo. 



32 THE DECEIVED. [act n. 

Lelia. Eemember what you have promised me. 

Isabella, And do you remember to return to me. 
One word more. 

ZeZia. What more ? 

Isabella. Listen. 

Lelia, I attend. 

Isabella. No one is bere. 

Lelia. Not a living soni. 

Isabèlla. Come nearer. T wish 

Lelia. Wbat do you wisb ? 

Isabelki. I wish that you would return after dinner, 
when my father will be out. 

Lelia. I will; but if my master passes this way, 
dose the window, and retire. 

Isabella. If I do not, may you never love me. 

Lelia. Adieu. Now return into the house. 

Isabella. I would bave a fiavour from you. 

Lelia. What? 

Isabella. Come a little within. 

Lelia, We shall be seen. 

Scatizza {apari). She has kissed him. 

Crivello (apart), I had rather bave lost an hundred 
crowns than not bave seen this kiss. What will my 
master do when be knows it ? 

Scatizza (apart). Oh, the de vii! You won't teli 
him? 

Isabella. Pardon me. Tour too great beauty, and 
the too great love I bear you, bave impelled me 
to this. You will think it scarcely becoming the 
modesty of a maid ; but God knows, I could not 
lesist. 

Lelia. I need no excuses, signora. I know too 
well what extreme love has led me to. 



SCENE VII.] THE DECEIVED. 33 

Isabella, To what? 

Lelia. To deceiving my master, which is not well. 

Isabella. Ili fortune come to him. 

Lelia. It is late. I must go home. Eemaiii in 
peace. 

Isabella. I give myself to yoii. 

Lelia. 1 am yonrs. (Isabella goes in.) I am sorry 
for ber, and wish T were well out of this intrigue. 
I will consult my nurse, Clementia ; but bere comes 
Flaminio. 

Crivello (aparty Scatizza, "nry master told me to go 
to him at the bank of the Perini. I will carry him 
this good news. If he does not believe me, I shall 
cali you to witness. 

Scatizza. 1 will not fail you ; but if you will take 
my advice, you will keep quiet, and you will always 
have this rod in pickle for Fabio, to make him do as 
you please. 

Crivello. I teli you I hate him. Ile has ruined 
me. 

Scatizza. Take your own way. 

SCENE YII.— r^e Street, with the home of Flaminio. 

Flaminio and Lelia. 

Flaminio. Is it possible that I can be so far out of 
myself, have so little self-esteem, as to love, in her ^ 
own despite, one who hates me, despises me, will not 
even condescend to look at me ? Am I so vile, of so 
little account; that I oannot free myself from this 
shame, this torment? But bere is Fabio. Well, 
what have you done ? 

Lelia. Nothing. 

D 



34 THE DEOEIVED. . [actt n. 

Flaminio, Why bave you been so long away ? 

Lelia. I bave delayed, because I waited io speak 
witb Isabella. 

Flaminio. And wby bave you not spoken to ber ? 

Lelia, Sbe would not, listen to me ; and if you would 
act in my way, you would take anotber course ; for 
by ali tbat I can so far understand, sbe is most ob- 
stinately resolved to do notbing to please you. 

Flaminio, Wby, even now, as I passed ber bouse, 
sbe rose and disappeared frora tbe window, witb as 
mucb an<;er and fury as if sbe bad seen some bideous 
and borrible thing. 

Lelia. Let ber go, I teli you. Is it possible tbat, 
in ali tbis city, tbere is no otber wbo merits your 
love as mucb as sbe does ? 

Flaminio. I would it were not so. I fear tbis 
bas been tbe cause of ali my misfortune; for I 
loved very warmly tbat Lelia Bellenzini, of wbom 
I bave spoken ; and I fear Isabella tbinks tbis love 
stili lasts, and on tbat account will not see me ; but 
I will give Isabella to understand, tbat I love Lelia 
no longer ; ratber tbat 1 bate ber, and cannot bear to 
bear ber named, and will pledge my faitb never to go 
wbere sbe may be. Teli Isabella tbis as strongly as 
you can. 

Lelia, Ob, me! 

Flaminio. Wbat bas còme over you ? Wbat do you 
feel? 

Lelia, Ob, me ! 

Flaminio, Lean on me. Have you any pain ? 

Ijélia, Suddenly. In tbe beart. 

Flaminio, Go in. Apply warm clotbs to your side. 
I will foUow immediately, and, if necessary, will 



SCENE vni.] THE DECEIVED. 35 

send for a doctor to feel your pnlse and prescribe a 
remedy. Qive me your arm. You are pale and cold. 
Lean on me. Gently — gently. (Leads her into the 
house, and returns.) To what are we subject ! I would 
not, for ali I am worth, that anything shonld bappen 
to him, for tbere ne ver was in tbe world a more dili- 
gent and well-mannered servant, nor one more cor- 
dially attaobed to bi^ master. (Flaminio goes off, and 
Lelia returns,^ 

Lelia. Ob, wretcbed Lelia ! Now yon bave beard 
from tbe moutb of tbis nngrateful Flaminio, bow well 
be loves you. \\ by do jou lose your time in foUow- 
ing one so false and so cmel ? Ali your former love, 
your favours, and your prayers, were tbrown away. 
Now your stratagems are unavailing. Ob, me, un- 
bappy ! Kefused, rejected, spurned, bated ! Wby 
do I serve bim, wbo repels me ? Wby do I ask bim, 
wbo denies me ? Wby do T follow bim, wbo flies 
me? Wby do I love bim, wbo bates me? Ab, 
Flaminio! Notbing pleases bim but Isabella. He 
desires notbing but Isabella. Let bim bave ber. 
Let bim bold ber. I must leave bim, or I sball die. 
I will sei-ve bim no longer in tbis dress. I will 
never again come in bis way since be bolds me in 
sucb deadly batred. I will go to Clementia, wbo 
expects me, and witb ber I will deteimine on tbe 
course of my future life. 

SCENE Vili. 

Flaminio and Cuivtello. 

Crivello, And if it is not so, cnt out my.tongue, and 
bang me up by tbe neck. 



36 THE DECEIVED. [act ii. 

Flaminio. How long since ? 

Crivello. When you sent me to look for him. 

Flaminio. Teli me again how it was, for he denies 
having been able to speak with her. 

Crivello. You will do well to make him oonfess it. 
I teli you, that, watching about the house to see if he 
were there, I saw him come out; and as he was 
going away. Isabella called him back into the door- 
way. They looked round, to see if any one were 
near, and not seeing any one, they kissed together. 

Flaminio. How was it that they did not see you ? 

Crivello. I was ensconced in the opposite portico. 

Flaminio. How then did you see them ? 

Crivello. By peeping in the nick of ti me, when they 
saw nothing but each other. 

Flaminio. And he kissed her ? 

Crivello. I do not know whether he kissed her, or 
she kissed him ; but I am sure that one kissed the 
other. 

Flaminio. Be sure that you saw clearly, and do not 
come by-and-by to say that it seemed so ; for this is 
a great matter that you teli me of. How did you 
see it ? 

Crivello. Watching with open eyes, and having 
nothing to do but to see. 

Flaminio, If this be true, you bave killed me. 

Crivello. This is true. She called him back, she 
went up to him : she embraced him ; she kissed him. 
If this is to kill you, you are dead. 

Flaminio. It is no wonder that the traitor denied 
having been there. I know now, why he counselled 
me to give her up : that he miglit bave ber himself. 
If I do not take such vengeance, as shall be a wam- 



SCENE Vili.] THE DECEIVED. 37 

ing to ali traitorous servants, may I ne ver be 
esteemed a man. But I will not believe you, with- 
out better evidence. You are ill-disposed to Fabio, 
and wish to get rid of him ; but by the eternai 
heaven, I will make you teli the truth, or I will kill 
you. You saw them kissing ? 

Crimlb, I did. 

Flaminio, He kissed her ? 

Crivello. Or she him. Or both. 

Flaminio. How often ? 

Crivello. Twice. 

Flaminio. Where ? 

Crivello. In the entry of her house. 

Flaminio. You lie in your throat. You said in the 
doorway. 

Crivello. Just inside the doorway. 

Flaminio. Teli the truth. 

Crivello. I am very sorry to bave told it. 

Flammio. It was true ? 

Crivello. Yes ; and I bave a witness. 

Flaminio. Who ? 

Crivello. Virginio's man, Scatizza. 

Flaminio. Did he see it ? 

Crivello. As I did. 

Flaminio. And if he does not confess it ? 

Crivello. Kill me. 

Flaminio, I will. 

Crivello. And if he does confess it ? 

Flaminio. I will kill both. 

Crivello. Oh the devil I What for ? 

Flaminio. Not you. Isabella and Fabio. 

Crivello. And bum down the house, with Pasquella 
and every one in it. 



38 THE DECEIVED. [act in. 

Flaminio, Let us look for Scatizza. I will pay 
them. I will take such revenge, as ali thìs land sliall 
ring of. 



ACT in. 

SCENE I.— 7%e Street, with the hotds and the house of 

Gherardo, 

Messer Fiero, Fabrizio, and Stbag(7ALCIA. 

Messer Piero, wbo had been before in Modena, 
points out some of ita remarkable places to Fabrizio, 
wbo bad been taken from it too young to remember 
it. Stragualcia is a hungry fellow, wbo is clamorous 
for bis dinner. 

SCENE IT. 
L' Agiato, Fruella, Piero, Fabrizio, and Stragualcia. 

L' Agiato and Fruella, two rivai botel-keepers, 
dispute tbe favour of tbe new comers. 

U Agiato, Ob, Signors, tbis is tbe botel ; lodge at 
tbe Looking-glass — at tbe Looking-glass. 

Fruella, Welcome, Signors: 1 bave lodged you 
before. Do you not remember your Fruella? Tbe 
only botel for gentlemen of your degree. 

V Agiato, You sball bave good apartments, a gocd 
fìre, excellent beds, wbite crisp sbeets; everytbing 
you can ask for. 

Fruella, I will give you tbe best wine of Lombardy : 
partridges, bome-made sausages, pigeons, puUets ; 
and wbatever else you may desire. 



SCENE nj THE DECEIVED. 39 

U Agiato, I will give you veal sweetbreads, Bo- 
logna sausages, Mountain wine, ali sorta of delicate 
fare. 

Fruella, I will give you fewer delicacies, and more 
substantials. You will live at a fìxed rate. At the 
Looking-Glass, you will be eharged even for candles. 

Stragualcia. Master, let us put up bere. Tbis 
seems best. 

L^ Agiato. If you wisb to live well, lodge at the 
Looking-Glass. You would not bave it said that you 
lodged at the Tool.* 

Fruella, My Fool is a bundred thousand times 
better than your Looking-Glass, 

Messer Piero, Specidvm prudentiam significata juxta 
illvd nostri Catonis, Nasce teipsum.if You understand, 
Fabrizio. 

Fabrizio, I understand. 

Fruella. See who has most guests, you or I. 

L'Agiato, See who has most men of note. 

Fruella, See wbere they are best treated. 

L* Agiato. See wbere there are most delicacies. 

Stragualcia. Delicacies, delicacies, delicacies I Give 
me substance. Delicacies are for the Florentines. 

V Agiato, Ali these lodge with me. 

Fruella, They did ; but for the last three years they 
bave come to me. 

L Agiato, My man, give me the trunk, it seems to 
gali your shoulder. 

Stragualcia, Never mind my shoulder, I want to 
fili my stomach. 

* In the sense of /om, not of sot 

t The looking-glass gignìiies prudence, according to the saying 
of ouT Cato : " Know yourself." 



40 THE DECEIVED. [aot ih. 

Frueìla. Here is a couple of capons, just ready. 
These are for you. 

Straguaìcia, They will do for a first course. 

L* Agiato. Look at this ham, 

Messer Fiero. ]N'ot bad. 

Fniella, Who understands wine ? 

Straguaìcia. 1 do ; better than the Frencb. 

Frueìla. See if tbis pleases you. If not, you may 
try ten otber soi ts. 

Straguaìcia. Frueìla, you are tbe prince of bosts. 
Taste tbis, master. Tbis is good. Carry in tbe 
tiunk. 

Messer Piero. Wait a little. Wbat bave you to 
say ? 

V Agiato. I say, tbat gentlemen do not care for 
beavy meats, but for wbat is ligbt, good, and 
delicate. 

Straguaìcia. Tbis would be an excellent provedore 
for a hospital. 

Messer Piero. Do not be uncivil. Wbat will you 
give US ? 

L'Agiato. You bave only to command. 

Frueìla. Wbere tbere is plenty, a man may eat 
little or mucb as be pleases; but wbere tbere is 
little, and tbe appetite grows witb eating, be can 
only finish bis dinner witb bread. 

Straguaìcia. You are wiser than tbe statutes. I 
bave never seen a landlord so mucb to my mind. 
; Frueìla. Go into tbe kitchen, brotber; tbere you 

will see. 

Messer Piero. Omnis repìetio mala, panis autem pessima.* 

Ali repletion is bad, but that of bread is the worst. 



SCENE II.] THE DECEIVED. 41 

Stragucdcia (aside), Paltry pedani! One of these 
days I must crack hìs sknll. 

V Agiato. Come in, gentlemen. It is not good to 
stand in the cold. 

Fabrizio. We are not so chilly. 

Fruella. You must know, gentlemen, this hotel of 
the Looking-Glass used to be the best hotel in 
Lombardy ; but since I have opened this of the Fool, 
it does not lodge ten persons in a year, and my sign 
has a greater reputation throughout the world than 
any other hostelry whatever. The French come 
here in flocks, and ali the Germans, that pass this 
way. 

L^ Agiato. That is not true. The Germans go to 
the Pig. 

Fruella. The Milanese come here ; the Parmesans, 
the Placentians. 

L'Agiato, The Venetians come to me, the Genoese, 
the Florentines. 

Messer Fiero. Where do the Keapolitans lodge ? 

Fruella. With me. 

L'Agiato. The greater part of them lodge at the 
Cupid. 

Fruella: Many with me. 

Fabrizio. Where does the Duke of Malfì.^ 

Fruella. Sometimes at my house, sometimes at his, 
sometimes at the Sword, sometimes at the Cupid ; 
accordingly as he fìnds most room for his suite. 

Messer Fiero. Where do the liomans lodge, as we 
are from Rome ? 

L'Agiato. With me. 

Fruella. It is not true. He does not lodge a Boman 
in a yea^, except two or three old cardinals, who 



42 THE DECEIVED. [act ui. 

keep to him from habit. AH the rest come to the 
Fool. 

Straguakia. I would not go from hence, wìthout 
being dragged away. Master, there are so maaij 
pots and pipkins about the fire, so many soups, so 
many sauces, so many spit», tnming with partridges 
and capons, such an odour of stews and ragouts, sueh 
a display of pies and tarts, that, if the whole -court of 
Rome were coming bere to keep camival, there 
would be enough, and to spare. 

Fabrizio, Have you been drinking ? 

Stragìudcia. Oh ! and such wine. 

Messer Piero. Variorum ciboì^um commistio pessimam 
generai digestionem.* 

Stragualcia. Bus asinorum, buorum castronorum pecoroni- 
bus t — the devil take ali pedants. Let us go in bere, 
master. 

Fabrizio. Where do the Spaniards lodge ? 

FrueUa, I do not trouble myself about them. They 
go to the Hook. But what need more ? No person 
of note arrives in Modena, but comes to lodge with 
me, except the Sienese, who, being ali one with the 
Modenese, no sooner set foot in the city, but they 
find an hundred friends, who take them to their 
houses : otherwise great lords and good companions, 
gentle and simple, ali come to the Eool. 

L'Agiato. I say that great doctors, leamed brothers, 
academicians, virtuosi, ali come to the Looking- 
Glass. 

Fruella. And I say, that no one, who takes up his 

* The mixture of various foods causes the worst possible 
digestion. 

t Mock Latin. 



SCENE III.] THE DECEIVED. 43 

quarters at the Lookìng-Glass, has been tbere many 
days, before be walks out and cornee to me. 

Fabrizio, Messer Piero, wbat sball we do ? 

Messer Piero, Etiam atque etiam cogitandum.* 

Stragualcia (aside). I can scarcely keep my bande 
ofif bim. 

Messer Piero, I tbìnk, Fabrizio, we bave not much 
money. 

Stragualcia, Master, I bave just seen tbe bost's 
daugbter, as beautiful as an angel. 

Messer Piero, Well, let uè fix bere. Your fatber, 
if we find bim, will pay tbe reckoniug. 

Stragualcia, I wìU go into tbe kitcben, tasto wbat 
Ì8 tbere, drink two or tbree cups of wine, fall asleep 
by a good fire, and tbe devil take economy. 

L'Agiato, Kemember, Fruella. You bave played 
me too many tricks. One day we must try wbicb 
bead is tbe bardest. 

Fruella, \V ben over you pleaee. I am ready to crack 
your skull. 

SCENE III.— !Z%e Street, with the house of Virginio, 

Virginio and Clementìa, 

Virgirdo, Tbese are tbe customs wbicb you bave 
taugbt ber. Tbis is tbe bonour wbicb sbe does me. 
Have I for tbis escaped so many misfoi*tunes, to see 
my property witbout an beir, my bouse broken up, 
my daugbter diebonoured: to become tbe fable of 
tbe city : not to dare to lift up my bead : to be 
pointed at by boys ; to be laugbed at by old men, 
to be put into a comedy by tbe Intronati, to be made 
an example in novels, to be an eternai scandal in 

* It is to be thought of again and again. 



44 THE DECEIVED. [act hi. 

the moutlis of the ladies of this land ? For if one 
knows it, in three hours ali the city knows it. Dis- 
graced, unhappy, mìserable father! I have lived 
too long. What can I think of? What can I do? 

Clementia. You will do well to make as little noise 
as you can, and to take the qnietest steps you can to 
bring your daughter home, before the town is aware 
of the matter. But I wish that Sister Novellante 
Ciancini had as much breath in her body, as I have 
faith in my mind that Lelia goes dressed as a man. 
Do not encourage their evil speaking. They wish ber 
to be a nun, that they may inherit your property. 

Virginio. Sister Novellante has spoken truth. She 
has told me, moreover, that Lelia is living as a page 
with a gentleman of this city, and that he does not 
know that she is not a boy. 

ClemerUia. I do not believe it. 

Virginio. Neither do I, that he does not know that 
she is not a boy. 

Clementia. That is not what I mean. 

Virginio. It is what I mean. But what could T 
expect, when I intrusted ber bringing up to you ? 

Clementia. Eather, what could you expect, when 
you wanted to marry her to a man ol4 enough to be 
her grandfather ? 

Virginio. If I find her, I will drag her home by the 
hair. 

Clementia. You will take your disgrace from your 
bosom, to display it on your head. 

Virginio. I have a description of her dress : I shall 
find her : let that suffice. 

Clementia. Take your own way. I will lose no 
more time in washing a coal. 



SCENE V.] THE DECEIVED. 45 

SCENE TV.— Tìie Street, with the hotels and the house of 

Gherardo, 

Fabrizio and Fruella. 

Fabrizio, While my two servants are sleeping, I 
will walk about to see the city. "When they rise, 
teli them to come towards the piazza. 

Fruella, Assuredly, young gentleman, if I had not 
seen you put on these clothes, I should . have taken 
you for the page of a gentleman in this town, who 
dresses like you, in white,* and is so like you that 
he appears yourself. 

Fabrizio. Perhaps I maj' have a brother. 

Fruella, It may be so. 

Fabrizio, Teli my tutor to inquire for he knows 
whom. 

Fruella, Trust to me. 

SCENE V. 

Fabrizio and Pasquella. 

Pasquella, In gòod faith, there he is. I was afraid 
of having to search the city before I should find you. 
My mistress says you must come to her as soon as 
you can, for a matter of great importance to both of 
you. 

* Viola, in assuining male apparel, copies the dress of her 
brother : — 

" He named Sebastian : I my brother know 
Yet liying in my glass : even such and so 
In faTOur was my brother ; and he went 
Stili in this fashion, colour, ornament ; 
For him I imitate." — Twelfih Night, Ad iii., SceTie 4. 



46 THE DEOEIVED. [act hi. 

Fabrizio, Who is your mistress ? 

Pasquella. As if j'ou did not know. 

Fabrizio, I do not know either her or you. 

Pasquella, Oh, my Fabio. 

Fabrizio. That is not my name. You are under 
some mistake. 

PasqxieUa. Oh, no, Fabio. You know, there are 
few girls in this country so rich and so beautiful, and 
I wish you would come to conclusions with her : for 
going backwards and forwards day after day, taking 
words and giving words only, sets folks talking, 
with no profit to you, and little honour to her. 

Fabrizio (aside), What can this mean? Either 
the woman is mad, or she takes me for somebody 
else. But I will see what will come of it. Let us 
go, then. 

Pasquella. Oh ! I think I bear people in the house. 
Stop a moment. I will see if Isabella is alone, and 
will make a sign to you if the ooast is clear. 

Fabrizio, I will see the end of this mystery. Per- 
haps it is a soheme to get money of me : but I am, 
as it were, a pupil of the Spaniards, and am more 
likely to get a crown from them, than they are to 
get a carlin fiom me. I will stand aside a little, to 
see who goes into or out of the house, and judge 
what soi*t of lady she may be. 



SCENE VI. 

Gherardo, Virginio, and Pasquella. 

Gherardo, Pardon me. If this is so, I renounce 
her. If Lelia has done this, it must be, not merely 



SCENE VI.] THE DECEIVED. 47 

because bhe will not bave me, but because sbe bas 
taken somebody else. 

Virginio. Do not believe it, Gberardo. I pray you, 
do not spoil wbat bas been done. 

Gherardo, And I pray you to say no more abont it. 

Virginio, Surely you will not be wanting to your 
word. 

Gherardo. Yes, "wbere tbere bas been a wanting in 
deed. Besides, you do not know if you can recover 
ber. You are selling tbe bird in tbe busb. I board 
your talk with Clementia. 

Virginio. If I do not recover ber, I cannot give ber 
to you. But if I do recover ber, vnll you not bave 
ber ? And tbat immediately ? 

Gherardo. Virginio, I bad the most bonourable 
wife in Modena. And I bave a daugbter who is a 
dove. How can I bring info my bouse one wbo bas 
nm away from ber fatber, and gone beaven knows 
wbere, in masculinei apparel ? Wbom should I find 
to marry my daugbter ? 

Virginio. After a few days notbing will be tbougbt 
of it. And I do not tbink any one knows it, except 
ourselves. 

Gherardo. The whole town will be full of it. 

Virginio. No, no. 

Gherardo. How long is it since she ran away ? 

Virginio. Yesterday, or this moming. 

Gherardo. Who knows tbat she is stili in Modena ? 

Virginio, I know it. 

Gherardo. Find ber, and we will talk it over again. 

Virginio. Do you promise to take ber ? 

Glierardo. I will see. 

Virginio. Say, yes. 



48 THE DECEIVED. [act ut. 

Gherardo. I will not say yes : but — 

Virginio, Come, say it freely. 

Gherardo, Softly. What are you doìng here, Pas- 
quella ? What is Isabella about ? 

Pasquella. Kneeling before ber aitar. 

Gherardo. Blessings on ber. A daughter wbo is 
always at ber devotions, is sometbing to be proud of. 

Pasqudla. Ay, indeed. Sbe fasts on ali fast-days, 
and says tbe prayers of tbe day like a little saint. 

Gherardo. Sbe resembles that blessed soul of ber 
motber. 

Virginio. Ob, Gherardo ! Gherardo ! tbis is sbe, of 
wbom we bave been speaking. Sbe seems to be 
biding or running away, for baving seen me. Let us 
go up to ber. 

Gheraìxb, Take care not to mistake. Perbaps it is 
not sbe ? 

Virginio. Wbo would not know ber ? And bave I 
not ali tbe signs which Sister Novellante gave me ? 

PasquéUa. Tbings are going ilL I will take myself 

off. 

SCENE VII. 

Virginio, Gherardo, and Fabrizio. 

Virginio. So, my fine miss, do you tbink tbis a be- 
fitting dresB for you ? Tbis is the honour which you 
do to my house. Tbis is tbe content you give to a 
poor old man. Would I bad been dead before you 
were born, for you were only bom to disgrace me : 
to bury me alive. And you, Gherardo, what say you 
of your betrotbed ? Is sbe not a credit to you ? 

Gherardo. Sbe is no betrotbed of mine. 

Virginio. Impudent minx ! What would become 
of you, if tbis good man sbould reject you for a wife ? 



SCENE VII.] THE DECEIVED. 49 

But he overlooks your follies, and is willing to take 
you. 

Gherardo. Softly, softly. 
Virginio. Go indoors, hussy. 

Fabrizio, Old man, have you no sona, friends, or 
relations in this city,' whose duty it is to take care of 
you? 

Virginio, What an answer ! Why do j^ou ask 
this? 

Fabrizio. Because I wonder that, having so much 
need of a doctor, you are allowed to go about, when 
3'ou ought to be locked up, and in a strait-waistcoat. 
Virginio. You ought to be locked up, and shall be, 
if I do not kill you on the spot, as I have a mind 
to do. 

Fabrizio. You insult me, because, perhaps, you 
think me a foreigner ; but I am a Modenese, and of 
as good a family as you. 

Virginio {taking Gherardo aside). Gherardo, take her 
into your house. Do not let her be seen in this 
fashion. 

Gherardo, No, no ; take her home. 
Virginio. Listen a little, and keep an eye on her, 
that she does not run away. ( Thei/ talk apart) 

Fabrizio. I have seen madmen before now, but such 
a madman as this old fellow I never saw going at 
large. What a comical in sani ty, to fancy that young 
men are girls ! I would not for a thousand crowns 
have missed this drollery, to make a story for even- 
ings in camival. They are coming this way. I will 
humour their foolery, and see what will come of it. 
Virginio. Come here. 
Fabrizio. "What do you want ? 

K 



ÒO THE DECETVED. [act ih. 

Virginio, You are a sad htissy. 

Fabrizio, Do not be abusive : for I sball not stand it. 

Virginio. Brazen face. 

Fabrizio. Ho! ho! bo! 

Gherardo. Let him speak. Do you not see that he 
iti angry ? Do as he bids. 

Fabrizio. What is bis anger to me ? What is he to 
me, or you either ? 

Virginio. You will kill me before my time. 

Fabrizio. It is high time to die, when you bave 
fallen into dotage. You bave lived too long already. 

Gherardo. Do not speak so, dear daughter, dear 
sister. 

Fabrizio. Here is a pretty pair of doves ! both crazy 
witb one conceit. Ha ! ha ! ha ! ha ! 

Virginio. Do you laugh at me, impudence ? 

Fabrizio. How can I help laughing at you, brain- 
less old goose ? 

Gherardo, I am afraìd this poor girl has lost ber wits. 

Virginio, I thought so at first, when I saw witb 
how little patience she received me. Pray take ber 
into your house. I cannot take ber to my own, 
without making myself the sight of the city. 

Fabrizio. About what are these brothers of Mel- 
chisedech laying together the beads of their second 
babybood ? 

Virginio. Let us coax ber indoors ; and as soon as 
she is within, lock ber up in a cbamber witb your 
daughter. 

Gherardo, Be it so. 

Virginio, Come, my girl, I will not longer be angry 
witb you. I pardon everything. Only behave well 
for the future. 



ACT IV.] THE DECEIVED. 51 

Fabrizio. Thank you. 

Gherardo, Bebave as good daughtei's do. 

Fabrizio. The other chimes in with the eame time. 

Gherardo, Go in, then, like a good girl. 

Virginio. Go in, my daughter. 

Gherardo. This house is your own. You are to be 
my wife. 

Fabrizio. Your wife and his daughter? Ha! ha! 
ha! 

Gherardo. My daughter will be glad of your com- 

Fabrizio. Your daughter, eh ? Verj'- good. I will 
goin. 

Virgimo. Gherardo, now that we bave ber safe, look 
ber up with your daughter, while I send for ber 
clotbes. 

Gherardo. Pasquella, cali Isabella, and brìng the 
key of ber room. 



ACT IV. 

SCENE 1.— Scene continues. 
Messer Piero and Stragualcia. 

Messer Fiero. You ought to bave fifty bastinadoes, 
to teach you to keep him company wben he goes out, 
and not to get drunk and sleep, as you have done, 
and let him go about alone. 

Stragualcia. And you ought to be loaded with birch 
and broom, sulpbur, pitch, and gunpowder, and set 
on fire, to teach you not to be what you are. 

Messer Piero. Sot, sot. 



52 THE DECEIVED. [act iv. 

Straguàlcia. Pedant, pedani. 

Messer Fiero. Lei me find your master. 

Straguàlcia, Let me find his father. 

Messer Piero. What can you say of me to bis 
father ? 

Stragìialcia, And what can you say of me ? 

Messer Piero. That you are a knave, a rogne, a 
rascal, a sluggard, a coward, a drunkard. That is 
what I can say. 

Straguàlcia. And I can say that you are a thief, a 
gambler, a slanderer, a cheat, a sharper, a boaster, a 
blockhead, an impostor, an ignoramus, a traitor, a 
profligate. That is what I can say. 

Messer Piero. Well, we are both known. 

Straguàlcia. True. 

Messer Piero. No more words. I will not place 
myself on a footing with you. 

Straguàlcia. Oh ! to be sure ; you bave ali the 
nobility of the Maremma. I am better born than 
you. What are you, but the son of a muleteer? 
This upstart, because he can say cujus masculini, thinks 
he may set his foot on every man's neck. 

Messer Piero. Naked and poor go'st thou, Philoso- 
phy.* To what bave poor lettere come ? Into the 
mouth of an ass. 

Straguàlcia. You will be the ass presently. I will 
\z,y a load of wood on your shoulders. 

Messer Piero. Furor fit Icesa soepius sapientia.^ For 
the sake of your own shoulders, let me alone, base 
groom, poltroon, arch-poltroon. 

Straguahia. Pedant, pedant, arch-pedant. What 

♦ Povera e nuda vai, Filosofia. — Petrarca^ p. 1. s. 7, 
t Wisdom frequently injured becomes fury. 



SCENE II.] THE DECEIVED. 53 

can be said worse than pedani? Can there be a 
viler, baser, more mbbifihy race? They go about 
puffed Tip like bladders because they are called 
Messer This, Maestro That. . . . {Stragudcia ends mth 
several terms of untranslatable abuse.) 

Messer Piero. Tractant fahrilia fabrL* You speak 
like what you are. Either you shall leave this 
service, or I will. 

Stragualcia. Who would bave you in his house, and 
at his table, except my young master, who is better 
than bread ? . 

Messer Piero, Many would be glad of me. No more 
words. Go to the hotel, take care of your master*s 
property. By-and-by we will have a reckoning. 

Stragualcia, Yes, we will have a reckoning, and 
you shall pay it. 

Messer Piero. Fruella told me Fabrizio was gone 
towards the Piazza. I will foUow him. \Eocit. 

Stragualcia, If I did not now and then make head 
against this fellow, there would be no living with 
him. He has no more valour than a rabbit. When 
1 brave him, he is soon silenced : but if I were once 
to knock under to him, he woidd lead me the life of 
a galley-slave. 

SCENE IL 
Gherardo, Virginio, and Messer Piero. 

Gherardo. I will endow bel" as you desire ; and if 
you do not find your son, you will add a thousand 
golden florins. 

Virginio. Be it so. 

* Workmen speak according to tbeir art. 



54 THE DECEIVED. [act iv. 

Messer Piero. I am much deceived, or I have seen 
this gentleman before. 

Virginio. What are you looking at, good sir ? 

Messer Piero. Certainly, this is my old master. Do 
you know in this town one Signor Vincenzio Bellen- 
zini? 

Virginio. I know him well. He has no better 
friend than I am. 

Messer Piero. Assuredly, you are he. Salve, patro- 
norum optime.* 

Virginio. Are you Messer Pietro de' Pagliaricci, my 
son's tutor ? 

Messer Piero. I am, indeed. 

Virginio. Oh, my son ! Woe is me ! What news 
do you bring me of him ? Where did you leave 
him ? Where did he die ? Por dead he must be, or 
I should not have been so long without hearing from 
him. Those traitors murdered him — those Jews, 
those dogs. Oh, my son ! my greatest blessing in the 
world ! Teli me of him, dear master. 

Messer Piero. Do not weep, sir, for heaven's sake. 
Your son is alive and well. 

Gherardo. If this is true, I lose the thousarid florins. 
Take care, Virginio, that this man is not a cheat. 

Messer Piero. Parcius ista viris tamen ohjicienda me- 
mento. \ 

Virginio. Teli me something, master. 

Messer Piero. Your son, in the sack of Rome, was a 
prisoner of one Captain t)rteca. 

Gherardo. So he begins bis fable. 

* Hail ! best of masters. 

t Remember, that snch things must be more spariugly ob- 
jected to men. 



SCENE II.] THE DECEIVED. 55 

Messer Piero. And because the captain Tiad two 
comrades, who might claim their share, he sent us 
secretly to Siena : then, fearìng that the Sienese, who 
are great friends of right and justice, and most affec- 
tionately attached to this city, might take hira and 
set him at liberty, he took us to a castle of the Signor 
di Piombino, set our ransom at a thonsand ducats, and 
made us write for that amonnt. 

Virginio. Waà my son ill-treated? 

Messer Piero. No, certainly ; they treated him like a 
gentleman. We received no answers to onr lettere. 

Virginio. Go on. 

Messer Piero. Xow, being condticted with the Spa- 
nish camp to Corregia, this captain was killed, and the 
Court took his property, and set us at liberty. 

Virginio. And where is my son ? 

Messer Piero. Nearer than you suppose. 

Virginio. In Modena. 

Messer Piero. At the hotel of the Fool. 

Gherardo. The thousand florins are gone; but it 
suffices to have her. I am rioh enough without 
them. 

Virginio. I die with impatience to embrace him. 
Come, master. 

Messer Piero. But what of Lelia ? 

Virginio. She has grown into a fine young woman . 
Has my son advanced in leaming ? 

Messer Piero. He has not lost his tìme, ut licuit per 
tot casus, per tot discrimina rerum.* 

Virgilio. Cali him out. Say nothing to him. Let 
me see if he will know me. 

♦ As far as it was available, througli so many accidents and 
disastrous chances. 



56 THE DECEIVED. [act iv. 

Messer Piero, He went out a little while sino e. I 
will see if he has retumed. 



SCENE III. 

Virginio, Ghekardo, Messer Piero, and Stragualcia, 

after wards Fkuklla. 

Messer Piero. Stragualcia, oh ! Stragualcia, has Fa- 
brizio retumed ? 

Stragualcia, Kot yet. 

Messer Piero. Come here. Speak to your old master. 
This is Signor Virginio. 

Stragualcia, Has yonr anger passed away? 

Messer Piero. You know I am never long angry with 
vou. 

Stragualcia, All's well, then. Is this our master's 
father ? 

Messer Pietro. It is. 

Stragualcia. Oh ! worthy master. Yon are just found 
in time to pay our bill at the Tool. 

Messer Piero, This has been a good servant to your 
son. 

Stragualcia, Has been only ? 

Messer Piiro. And stili is. 

Virginio, I shall take care of ali who bave been 
faithfnl companions to my son. 

Stragualcia. You can take care of me with little 
trouble. 

Virginio. Demand. 

Stragualcia, Settle me as a waiter with this host, 
who is the best companion in the world, the best pro- 
vided, the most knowing, one that better understands 



SCENE III.] THE DECEIVED. 57 

the necessities of a foreign guest than any host I 
have ever seen. For my part, I do not think there is 
any other paradise on earth. 

Gherardo. He has a reputation for treating well. 

Virginio, Have you breakfasted ? 
, Straguàlda. A little. 

Virginio. What bave you eaten ? 

Stragùàlcia. A brace of paiirìdges, six tbrushes, a 
capon, a little veal, with only two jugs of wine.* 

Virginio. Fruella, give bim wbatever be wants, and 
leave tbe payment to me. 

Straguàlda. Fruella, first bring a little wine for 
tbese gentlemen. 

Messer Piero. Tbey do not need it. 

Straguàlda. Tbey will not refase. You must drink 
too, Master. 

Messer Piero. To make peace witb you, I am content. 

Straguàlda. Signor Virginio, you bave reason to 
tbank tbe Master, wbo loves your son better tban bis 
own eyes. 

Virginio. Heaven be bountiful to bim. 

Straguàlda. It concerns you first, and beaven after. 
Drink, gentleman. 

Gherardo. Not now. 

Straguàlda. Pray tben, go in, till Fabrizio returns. 
And let us sup bere tbis evening. 

* The reader may be reminded of Massinger's Justice 
Greedy : — 

" Overreach. HuDgry again ! Did you not devour this moming 
A shield of brawn and a barrai of Colcheeter oysters ? 

" Greedy. Wliy, that was, sir, only to scour my stomach — 
A kind of a preparative." 

New Way to Pay Old Débts, Act iv., Scene 1. 



58 THE DEOEIVED. [act ii. 

Gherardo, I must leave yoTi for a while. I bave 
some business at home, 

Virginio, Take care that Lelia does not get away. 

Gherardo, That is what I am going for. 

Virginio, She is yours. I give her to you. Arrange 
the mattar to your mind. 

SCENE IV,— The Street, with the house of Virginio. 
Gherardo, Lelia, and Clementia. 

Gherardo, One cannot have ali things one's own 
way. Patience. But how is this? Here is Lelia. 
That careless Pasquella has let her escape. 

Lelia. Does it not appear to you, Clementia, that 
Fortune makes me her sport ? 

Clementia.. Be of good cheer. I will find some means 
to content you. But come in, and change your dress. 
You must not be seen so. 

Gherardo, I will salute ber, however, and under- 
stand how she has got out. Good day to you, Lelia, 
my sweet spouse. Who opened the door to you ? 
Pasquella, eh? I am glad you bave gone to your 
nurse's house ; but your being seen in this dress does 
little honour to you or to me. 

Lelia, To whoni are you speaking ? What Lelia ? 
I am not Lelia. 

Gherardo. Oh ! a little while ago, when your father 
and I locked you up with my daughter Isabella, did 
you not confess that you were Lelia ? And now, you 
think I do not know you. Go, my dear wife, and 
change your dress. 

Lelia, God send you as mnch of a wife, as I bave 
fancy for you as a husband. ( Goes in,) 



SCENE iv.J THE DECEIVED. 59 

Clementia. Go home, Gherardo. AH women have 
their child's play,* some in one way, some in another. 
This is a very innocent one. Stili these little amuse- 
ments are not to be talked of. 

Gherardo. No one shall know it from me. But how 
did she escape from my house, where I had locked 
her up with Isabella ? 

Clementia. Locked np whom ? 

Gherardo. Lelia; this Lelia. 

Clemeìitia. You are mistaken. She has not parted 
from me to-day ; and for pastime she put on these 
clothes, as girls will do, and asked me if she did not 
look well in them ? 

Gherardo, You want to make me see doublé. I teli 
you I locked her up with Isabella. 

Clementia. Whence come you now ? 

Gherardo. From the hotel of the Fool. 

Clementia. Did you drink ? 

Glierardo, A little. 

Clementia. Now go to bed, and sleep it off. 

Gherardo. Let me see Lelia for a moment before I 
go, that I may give her a piece of good news. 

Clementia. What news"? 

Gherardo. Her brother has retumed safe and sound, 
and her father is waiting for him at ihe hotel. 

Clementia. Fabrizio? 

Gherardo. Fabrizio. 

Clementia. I hasten to teli her. 

Gherardo. And I to blow up Pasquella, for letting 
her escape. 

* Cittdezze {zitéllezze), equivalent io fanciullaggini. 



60 THE DECEIVED. [act iv. 

SCENE Y.—The Street, with the hotels and the house of 

Gherardo. 

Pasquella, alone. 

Pasquella, who had only known Lelia as Fabio, 
and did not know what the two old men had meant, 
by calling the supposed Lelia, whom they had de- 
livered to her charge, a girl, has nevertheless obeyed 
orders, in locking up Fabrizio with Isabella, and now 
in an untranslatable soliloquy, narrates, that the two 
captives had contracted matrimon}'' by their own 
ritual. 

SCENE VL 

Pasquella and Giglio. 

Pasquella, seeing Giglio coming, retires within the 
court-yard, throngh the grated door of which the 
dialogue is carried on. Giglio wishes to obtain ad- 
mission to Gherardo's house, without giving Pas- 
quella the rosary he had promised her. He shows 
it to her, and withholds giving it, on pretence that it 
wants repairs. She, on the other band, wishes to get 
the rosary, and givo him nothing in return. She 
pretende to doubt if it is a true rosary, and prevails 
on him to let her count the beads. She then cries 
out, that the fowls are loose, and that she cannot open 
the door till she has got them in. Giglio declares 
that he sees no fowls ; that she is imposing on 
him. She laughs at him : he expostulates, implores, 
threatens to break down the door, to set fire to the 
house, to bum everything in it, herself included. In 
the midst of his wrath, he sees Gherardo approaching, 
and runs away. 



SCENE VII.] THE DECEIVED. 61 

SCENE VII. 

Pasquella and Gherardo. 

Gherardo. What were you doing at the gate, with 
that Spaniard ? 

Pasquella. He was making a great noise about a 
rosary. I could not make out what he wanted. 

GJierardo. Oh ! you have executed your trust well. 
I could fìnd in my heai*t to break your bones. 

Pasquella. For what? 

Gherardo. Because you have let Lelia escape. 1 
told you to keep her locked in. 

Pasquella. She is locked in. 

Gherardo. I ad mire your impudence. She is not. 

Pasquella. 1 say she is. 

Gherardo. 1 have just left her with her nurse Cle- 
mentia. 

Pasquella, And I have just left her, where you 
ordered her to be kept. 

Gherardo. Perhaps she carne back before me. 

Pasquella. She never went away. The chamber 
has been kept locked. 

Gherardo. Where is the key ? 

Pasquella. Here it is. 

Gherardo. Give it me. If she is not there you 
shall pay for it. 

Pasquella. And if she is there will you pay for it ? 

Gherardo. I will. You shall have a handsome 
present. 



62 THE DECEIVED. [act iv. 

SCENE Vili. 
Pasquella, Flaminio ; aftervcards Gherardo. 

Flaminio, Pasquella, how long is it since my Fabio 
was here ? 

Pasquella. Why ? 

Flaminio. Because he is a traitor, and I will punirli 
him ; and because Isabella bas left me for bim. Fine 
bonour to a lady of ber position, to fall in love witb a 
page. 

Pasquella. Ob, do not say so. Ali tbe favours sbe 
has sbown bini are only for love of you. 

Flaminio. Teli ber sbe will repent ; and as for bim, 
I carry tbis dagger for bim. 

Pasquella. Wbile tbe dog barks, tbe wolf feeds. 

Flaminio. You will see. [Eccit. 

Gk&i^ardo. Ob me ! to wbat bave I come ! ob traitor, 
Virginio ! ob beaven ! wbat sball I do ? 

Pasquella. Wbat is tbe matter, master ? 

Gherardo. Wbat is be tbat is witb my daugbter ? 

Pasquella. He? Wby you told me, it was Vir- 
ginio's daugbter. 

Gherardo bas discovered tbe clandestine mar- 
riage, and gives vent to bis rage in untranslatable 
terms. 

SCENE IX. 

Gherardo, Virginio, and Messer Piero. 

Messer Piero. I wonder be bas not retumed to tbe 
botel. I do not know wbat to tbink of it 

Gherardo. Ho I bo ! Virginio I tbis is a pretty 
outrage tbat you bave put on me. Do you tbink 
I sball submit to it ? 



SCENE IX.] THE DECEIVED. * 63 

Virginio. What are you roaring about ? 

Gherardo. Do you take me for a sheep, you cheat, 
you thief, you iraitor ? But the govemor shall bear 
of it. 

Virginio. Have you lost yonr senses ? Or, what is 
the matter ? 

Gherardo. Eobber. 

Virginio. I have too much patience. 

Gherardo. Liar. 

Virginio. You lie in your own throat. 

Gherardo. Forger. 

Messer Piero. Ah, genti emen ! what madness is 
this ? 

Gherardo. Let me come at him. • 

Messer Piero. What is between this gentleman and 

you ? 

Virginio, He wanted to marry my daughter, and I 
left her in his charge. I am afraid he has abused 
my confidence, and invents a pretext for breaking 
off. 

Gherardo. The villain has ruined me. I will cut 
him to pieces. [ Virginio goes off.* 

Messer Piero. Pray let us understand the case. 

Gherardo. The miscreant has nin away. Come in 
with me, and you shall know the whole affair. 

Messer Piero. I go in with you, on yonr faith ? 

Gherardo. On my faith, solemnly. 

* To return with anns and foUowers. 



04 * THE DEC5EIVED. [act v. 



ACT V. 

SCENE I. — Scene continues. 

Virginio, S traqualcia, Scatizza ; afterwards at inter- 
vds, Messer Piero, Gherardo, and Fabrizio. 

Virginio, FoUow me, ali ; and you, Stragualcia. 

Straguakia, With or without anns? I bave no 
arms. 

Virginio, Take in the hotel something that will 
serve. I fear this madman may bave killed my poor 
daughter. 

Stragualcia. This spit is a good weapon. I will mn 
him throngh and ali his followers, like so many 
thrushes. 

Scatizza. What are these flasks for ? 

Stragualcia. To refresh the soldiers, if they should 
fall back in the first skirmisb. 

Virginio. The door opens. They bave laid some 
ambnscade. 

Messer Piero. Leave me to settle the matter, Signor 
Gherardo. 

Stralgucdda. See, master, the tutor has rebelled, 
and sides with the enemy. There is no faith in this 
class of fellows. Sball I spit him first, and count 
one. V 

Messer Fiero. Wby these arms, my master ? 

Virginio. What has become of my daughter ? 

Messer Fiero. I bave found Fabrizio. 

Virginio. Where? 

Messer Fiero. Here, within. And he has taken a 
beautiful wife. 



SCENE II.] THE DECEIVED. 66 

Virginio. A wife ? And who ? 

Messer Piero. The daughter of Gherardo. 

Virginio. Gherardo ! It was but now he wanted to 
kill me. 

Messer Fiero. Rem omnem a principio audies.* Come 
forth, Signor Gherardo. 

Gherardo. Lay down these arms, and come in. It 
ìs matter for langhter. 

Virginio. Can I do it safely ? 

Messer Piero. Safely, on my assnranoe. 

Virginio. Then do you ali go home, and lay down 
your arms. 

Messer Piero. Fabrizio, come to yonr father. 

Virginio. Is not this Lelia ? 

Messer Piero. No, this Is Fabrizio. 

Virginio. Oh, my son, how mnch I have moumed 
for yon ? 

Fabrizio. Oh, dear &,ther, so long desired ! 

Gherardo. Come in, and you shall know ali. I can 
fdrther teli yon, that your daughter is in the house of 
her nurse, Clementia. 

Virginio. How thankful I am to Heaven. 

SCENE 11.— The Street, with the hauses of Virginio and 

Clementia, 

Flaminio and Crivello ; afteruxirds Clementia. 

Crivdb. I have seen him in ihe house of Clementia 
with these eyes, and heard him with these ears. 
Flaminio. Are you sure it was Fabio ? 
Crivello, Do you think I do not know him ? 
JTamtmb. Let us go in, and if I find him 

* You sliall hcar the whole affair from the beginning. 

F 



66 THE DEOEIVED. [act v. 

Crivello. You will spoil ali. Have patience, till he 
Comes out. 

Flaminio, Noi heaven itself could make me bave 
patience. {Knocks at the door,) 

Clementia, Who ìfi there ? 

Flaminio» A friend. Come down for a while. 

Clementia, Oh, Signor Flaminio, what do you want 
with me ? 

Flaminio. Open, and I will teli you. 

Clementia, Wait till I come down. 

Flaminio, As soon as she opens the door, go in, and 
if you find him, cali me. 

Crivello, Leave it to ioae. 

Clementia. Now what have youto say, Signor Fla- 
minio? 

Flaminio, What are you doing in your house with 
my page ? 

Clementia, What page? How? Are you going 
into my house by force ? (Puskitig back Crivello,^ 

Flaminio, Clementia, by the body of Bacchus ! if 
you do not restore him 

Clementia, Whom? 

Flaminio, My boy, who has fled into your house. 

Clementia, There is no boy in my house. 

Flaminio, Clementia, you have always been friendly 
to me, and I to you; but this is a matter of too 
great moment 

Clementia, What fury is this? Pause a little, 
Flaminio. Give time for your anger to pass away. 

Flaminio, I say, restore me Fabio. 

Clementia, Oh ! not so much rage. By my faith, if 
1 were a young woman, and pleased you, I would 
have nothing to say to you. What of Isabella ? 



SCENE li.] THE DECEIVED. 67 

Fhmmo. I wish she were quartered. 

Clementia, Oh, that cannot be true. 

Flammo. If that is not tme, she has made me see 
what is true. 

Clementia, You young men deserve ali the ili that 
can befall you. You are the most ungrateful crea- 
tures on earth. 

Flaminio. This cannot be said of me. No man more 
abhors ingratitude than I do. 

Clementia. I do not say it for you ; but there is in 
this city a young woman, who, thinking herself be- 
loved by a cavalier of your condition, became so much 
in love with him, that she seemed to see nothing in 
the world but him. 

Flaminio. He was a happy man to inspire such a 
passion. 

Clementia. It so happened that her fath<er sent this 
poor girl away from Modena, and most bitterly she 
wept on her departure, fearing that he would soon 
forget her, and tum to another ; which he did imme- 
diately. 

Flaminio. This could not be a cavalier. He was a 
traitor. 

Clementia. Listen. Worse follows. The poor girl, 
retuming after a few months, and finding that her 
lover loved another, and that this other did not 
return bis love, abandoned her home, placed her 
honour in perii, and, in masculine attiro, engaged 
herself to her false lover as a servant. 

Flaminio. Did this happen in Modena ? I had rather 
be this fortunate lover than lord of Milan. 

Clementia. And this lover, not knowing her, em- 



68 THE DECEIVED. [act v. 

ployed ber as a messenger to his new flame, and she, 
to please him, submitted to this painful duty. 

Flaminio. Oh! virtuous damsel; oh! finn love: a 
thing truly to be put in example to ali coming time. 
Oh ! that snob a chance had happened to me. 

Clementia, You wonld not leave Isabella ! 

Flaminio, I wonld leave ber, or any one thing else, 
for snch a blessing. Teli me, who is she ? 

Clem^ntia, Teli me, first, what wonld you do, if the 
case were your own ? 

Flaminio, I swear to you, by the light of heaven, 
may I ne ver moi*e bold np my head among bononr- 
able men, if I wonld not rather take ber for a wife, 
even if she had no beauty, nor wealth, nor birth, than 
the daughter of the Duke of Ferrara. 

Clementia, This you swear. 

Flaminio, This I swear, and this I would do. 

Clernentia. You are witness. 

Crivello, I am. 

Clernentia, Fabio, come down. 



SCENE III. 

Clementia, Flaminio, Crivello, Leu a infernale àress, 

afterwards Pasqqella. 

Clernentia, This, Signor Flaminio, is your Fabio ; 
and this, at the same time, is the Constant, loving girl 
of "wbom I told you. Do you recognize bim ? Do you 
recognize ber ? Do you now see the worth of the love 
which you rejected? 

Flaminio, There cannot be on earth a more chai-ming 



SCENE III.] THE DECEIVED. 69 

deceit than this. Is it possible, that I can have been 
so blind as not to have known ber ? 

Pasquella, Clementia, Virginio desires tbat you will 
come to our house. He has given a wife to bis son 
Fabrizio, who has just retumed, and you are wanted 
to put everything in order. 

Clementia. A wife ? and whom ? 

Pasquella, Isabella, the daughter of my master 
Gherardo. 

Flamimo, The daughter of Gherardo Foiani ? 

Pasquella, The same. I saw ihe ring put on the 
bride's finger. 

Flaminio, When was this ? 

Pasquella, Just now. And I was sent off imme- 
diately to cali Clementia. 

Clementia, Say, I will come almost directly. 

Lelia, Oh, heaven! ali this together is enough to 
make me die of joy. 

Pasquella, And I was to ask, if Lelia is bere. Ghe- 
rardo has said she is. 

Clementia, Yes ; and they want to many ber to ihe 
old phantom of your master, who ought to he ashamed 
of himself. 

Flaminio, Marry ber to Gherardo ! 

Clementia, See, if the poor girl is unfortunate. 

Flaminio, May he bave as much of life as he will 
have of ber. I think, Clementia, this is certainly the 
will of beaven, which has bad pity no less on this 
virtuous girl than on me ; and therefore, Lelia, I 
desire no other wife than you, and I vow to you most 
solemnly, that if I bave not you, I will never have any. 
• Lelia, Flaminio, you are my lord. I have shown 
my heart in what I have done. 



70 THE DECEIVED. [act v. 

Flaminio, You bave, indeed, shown it well. And 
forgive me if I bave caused you affliction ; for I am 
most repentant, and aware of my error. 

Lelia. Tour pleasure, Flaminio, Las alwaye been 
mine. I sbould bave found my own bappiness in 
promotìng youra. 

Flaminio. Clementia, I dread some accident. I 
would not lose ti me, but marry ber inBtantly, if sbe is 
content. 

Lelia. Most content. 

Clementia. Marry, tben, and return bere. In tlie 
mean time, I will inform Virginio, and wisb bad nigbt 
to Gberardo. 

SCENE lY.— The Street, wifh the hotels and the house 

of Gherardo. 

Pasquella and Giglio. 

Pasquella again befools tbe Spaniard, wbo goes off, 
vowing that tbis is tbe last time sbe sball impose on 
bim. 

SCENE V. — TTte Street, with the houses of Virginio and 

Clementia. 

Cittina, 
Flaminio and Lelia bave been marrìed, and bave 
retumed to Clementia's bouse. Cittina comes out 
from it, and delivers an untranslatable soliloquy. 



SCENE vii.J THE DECEIVED. 71 

SCENE Yl.—The Street, wiùh the hotels and the house qf 

Gherardo. 

Isabella and Fabrizio, afterwards Clementia. 

Isabetta. I most certainly thought that you were the 
page of a gentleman of this city. He resembles yon 
so much, that he must siirely he your brother. 

Fabrizio, I have been mistaken for another more 
than once to-day. 

Isabella, Here ìs yonr nurse, Clementia. 

Clementia, This must be he who is so like Lelia. 
Oh ! my dear child, Fabrizio, how is it with you ? 

Fabrizio, Ali well, my dear nurse. And how is it 
with Lelia ? 

Clementia. Well, well ; but come in. I have much 
to say to you ali. 

SCENE VII. 

Virginio and Clemkntla. 

Virginio, I am so delighted to have recovered my 
son, that I am content with everything. 

Clementia, It was the will of heaven that she should 
not be married to that withered old stick, Gherardo. 
But let US go into the hotel,* and complete our 
preparations. ( They go into the hotel) 

Stragualcia. 

Spectators, do not expeot that any of these cha* 
racters will reappear. If you will come to supper 

* It wotQd seem that the nuptial feast ìs to be held at the 
Fool. Stragualcia had preyiously said, " Let us snp here this 
evening." — Act iv., Scene 3. 



72 THE DEOEIVED. [act v. 

with US, I will expect you at the Fool; but bring 
money, for there entertainment is not gratis. If you 
will not come (and yòu seem to say * No !'), show us 
that you have been satisfìed bere ; and you, Intronati, 
give signs of rejoicing. 



AELIA LAELIA CKISPIS: 

AN ATTEMPI TO SOLVE THE AENIGMA. 



AELIA LAELIA CKISPIS. 



Many leamed men bave oflfered explanations of this 
aenigma. None of these explanations bave been 
found satisfactoiy. If that which I bave to ofifer 
should meet with aoceptance, it will appear that my 
erudite predecessors bave overlooked the obvioiis in 
seeking for the recondite. 

About two hundred years ago, a marble was foxmd 
near Bologna, with the foUowing inscriptìon ; — 

D. M. 

AELIA . LAELIA . CRISPIS . 

NEC . VIR . NEC . MULIEK . NEC . ANDROGYNA . 

NEC . PUELLA . NEC . JUVENIS . NEC . ANUS * 

NEC . CASTA . NEC . MERETRIX . NEC . PUDICA . 

SED . OMNIA . 

SUBLATA . 

NEQUE , FAME . NEQUE . FERRO . NEQUE . YENENO . 

SED . OMNIBUS . 

NEC . COEW . NEC . AQUIS • NEC . TERRIS . 

SKD . UBIQUE . JACET . 

LUCIUS . AQATHO . PRISCUS . 

NEC . MARITUS . NEC . AMATOR . NEC NECESSARI US . 

NEQUE . MOERENS . NEQUE . 6AUDENS . NEQUE . FLENS . 

HANC . NEC . MOLEM . NEC . PTRAMIDEM . 

NEC . SEPULCHRUM . 

SED . OMNIA . 

SCIT . ET . NESCIT • 

CUI . POSUERIT . 



V6 AELIA LAELIA CRISPIS. 



TO THE GODS OF THE DEAD. 

Aelia Laelìa Orispis, 

Kot man, nor woman, nor hermaphrodite : 

Not girl, nor youth, nor old woman : 

Not chaste, nor unchaste, nor modest : 

But ali : 

Carried off, 

Not by hunger, nor by sword, nor by poison : 

But by ali : 

X Lies, 

Not in air, not in earth, not in the waters : 

But everywhere. 

Lucius Agatho Priscus, 

Not ber husband, nor ber lover, nor ber friend : 

Not sorrowing, nor rejoicing, nor weeping : 

Ereding 
This, not a stone-pile, nor a pyramid, 
Nor a sepulcbre : 

But ali : I 

Knows, and knows not, 
To whom he erects it. 

I believe this aenigma to consist entirely in the 
contrast, between the general and particular con- 
sideration of the human body, and its accidents of 
death and burial. Abstracting from it ali but what 
Ì8 common to ali human bodies, it has neither age 
nor sex ; it has no morals, good or bad : it dies from 
no specifio cause : lies in no specific place : is the 
subject of neither joy nor grief to the survivor, who 
superintends its funeral : has no specific monument 
erected over it; is, in short, the abstraction con- 
templated in the one formula : " Man that is bom of 
a woman ;" which the priest pronounces equally over 
the new-born babe, the mature man or woman, and 
the oldest of the old. 



AELIA LAELIA CRISPIS. 77 

But considered in particular, that is, distinctively 
and individually, we see, in snccession, man and 
woman, young and old, good and bad ; we see some 
buried in earth, some in sea, some in polar ice, some 
in mountain snow. We see a funeral superintended, 
bere by one wbo rejoices, tbere by one wbo moums ; 
we see tombs of every variety of form. Tbe abstract 
superintendent of a funeral, abstractedly ini^rring an 
abstract body, does not know to whom he raises the 
abstract monnment, nor what is its form ; but the 
particular superintendent of a particular funeral 
knows what the particular monument is, and to 
whose memory it is raised. 

So far the inscription on the marble foimd at 
Bologna. Another copy, in an ancìent MS. at 
Milan, adds three lines, which do not appear to me 
to belong to the originai inscription : — 

Hoc est sepulchrum, cadaver intus non habeng : 
Hoc est cadaver, sepulchrum extra non habens : 
Sed idem cadaver est et sepulchrum sibi. 

This is a sepulchre, not having a corpse withìn : 
TLls is a corpse, not having a sepulchre without : 
But the same is to itself both corpse and sepulchre. 

These lines are the translation of a Greek epigram 
on Niobe : to whom they are strictly appropriate, 
and to whom I aili contented to leave them : — 

*0 TVfxfioc ovTOC ey^oy ovk exei vtKpdy • 

*0 VCJCpÒc OVTOQ ktCTOQ OVK €^€C TCLf^y ' 

'AW* avròc avTov vEKpóg i<m Koi ra^oc* 

— Anthciogia Palatina, vii., 311. 

"Hiere is another consideration, which makes the 
Milanese manuscript of more questionable authority 



78 AELIA LAELIA CRISPIS. 

than the Bolognese marble. The marble has the 
supersoription, D.M. Diis Mambus: To the Gods of 
the Dead : which is snìtable to the dead in ali points 
of view, general and particular. The MS. has Am. 
P. P. D., Amicus Propria Pecunia Dicavit: A friend has 
dedicated this monument at his own expense : which ìs 
suitable only to a particular tomb, and a definite 
relation between the dead and the living. 



THE END. 



! 

f 

l 



LONDON : 

PaiNTBU BY W. CLOWBS AND SONS, STANFORD STREET 
AND CHARING CROSS