Galatea
The Prologue
Pro.Sp1Prologue
Ios and Smyrna were two sweet cities, the first named of the violet, the latter of the myrrh. Homer was born in the one and buried in the other. Your Majesty’s judgment and favour are our sun and shadow, the one coming of your
deep wisdom, the other of your wonted grace. We in all humility desire that by the former receiving our first breath, we may, in the latter, take our last rest.
Augustus Caesar had such piercing eyes that whoso looked on him was constrained to
wink. Your Highness hath so perfect a judgment that, whatsoever we offer, we are enforced
to blush. Yet as the Athenians were most curious that the lawn wherewith Minerva was covered should be without spot or wrinkle, so have we endeavored with all care
that what we present Your Highness should neither offend in scene nor syllable — knowing that as in the ground where gold groweth nothing will prosper but gold, so in Your Majesty’s mind, where nothing doth harbor
but virtue, nothing can enter but virtue.
1.1
Enter Tityrus and Galatea disguised as a boy. They sit under an oak tree.1.1.Sp1Tityrus
1.1.Sp2Galatea
Father, you have devised well. And whilst our flock doth roam up and down this pleasant
green, you shall recount to me, if it please you, for what cause this tree was dedicated
unto Neptune, and why you have thus disguised me.
1.1.Sp3Tityrus
I do agree thereto, and, when thy state and my care be considered, thou shalt know
this question was not asked in vain.
1.1.Sp5Tityrus
In times past, where thou see’st a heap of small pebble stood a stately temple of
white marble, which was dedicated to the God of the Sea, and in right, being so near the sea. Hither came all such as either ventured by long travel to
see countries or by great traffic to use merchandise, offering sacrifice by fire to get safety by water, yielding thanks for perils past
and making prayers for good success to come. But Fortune, constant in nothing but
inconstancy, did change her copy, as the people their custom; for, the land being oppressed by Danes — who instead of
sacrifice committed sacrilege, instead of religion rebellion, and made a prey of that in which they should have made their prayers, tearing down the temple even
with the earth, being almost equal with the skies — enraged so the god who binds the winds in the hollows of the earth that he caused the seas to break their bounds sith men had broke their vows, and to swell as far above their reach as men had swerved
beyond their reason. Then might you see ships sail where sheep fed, anchors cast where
ploughs go, fishermen throw their nets where husbandmen sow their corn, and fishes throw their scales where fowls do breed their quills. Then might you gather froth where now is dew, rotten weeds for sweet roses, and take view of monstrous mermaids instead of passing fair maids.
1.1.Sp7Tityrus
1.1.Sp9Tityrus
1.1.Sp11Tityrus
1.1.Sp15Tityrus
1.1.Sp17Tityrus
I would thou hadst been less fair or more fortunate. Then shouldst thou not repine
that I have disguised thee in this attire, for thy beauty will make thee to be thought
worthy of this god. To avoid therefore destiny (for wisdom ruleth the stars), I think
it better to use an unlawful means, your honor preserved, than intolerable grief, both life and honor hazarded; and to prevent,
if it be possible, thy constellation by my craft. Now hast thou heard the custom of this country, the cause why this tree
was dedicated unto Neptune, and the vexing care of thy fearful father.
1.1.Sp18Galatea
Father, I have been attentive to hear, and by your patience am ready to answer. Destiny
may be deferred, not prevented; and therefore it were better to offer myself in triumph
than to be drawn to it with dishonor. Hath nature (as you say) made me so fair above all, and shall not virtue make me as famous as others? Do you not know, or doth overcarefulness
make you forget, that an honorable death is to be preferred before an infamous life?
I am but a child, and have not lived long, and yet not so childish as I desire to live ever. Virtues I mean to carry to my grave, not grey hairs. I would
I were as sure that destiny would light on me as I am resolved it could not fear me. Nature hath given me beauty, virtue courage; nature must yield me death, virtue honor. Suffer me therefore to die, for which I was born, or let me curse that I was born, sith I may not die for it.
1.1.Sp19Tityrus
1.1.Sp21Tityrus
1.1.Sp23Tityrus
Exeunt.
In health it is easy to counsel the sick, but it’s hard for the sick to follow wholesome
counsel. Well, let us depart. The day is far spent.
1.2
Enter Cupid and a Nymph of Diana.1.2.Sp1Cupid
Fair nymph, are you strayed from your company by chance, or love you to wander solitarily
on purpose?
1.2.Sp2Nymph
1.2.Sp5Cupid
I pray thee, sweet wench, amongst all your sweet troop is there not one that followeth
the sweetest thing, sweet love?
1.2.Sp7Cupid
1.2.Sp10Nymph
Exit.
I have neither will nor leisure, but I will follow Diana in the chase, whose virgins
are all chaste, delighting in the bow that wounds the swift hart in the forest, not fearing the bow that strikes the soft heart in the chamber. This difference is between my mistress Diana and your mother (as I guess) Venus: that all her nymphs are amiable and wise in their kind, the other amorous and too kind for their sex. And so farewell, little god.
1.2.Sp11Cupid
Exit.
1.3
Enter Melibeus and Phillida.1.3.Sp1Melibeus
Come, Phillida, fair Phillida, and I fear me too fair, being my Phillida: thou knowest
the custom of this country, and I the greatness of thy beauty; we both the fierceness of the monster Agar. Everyone thinketh his own child fair, but I know
that which I most desire and would least have, that thou art fairest. Thou shalt therefore disguise thyself in attire, lest I should
disguise myself in affection, in suffering thee to perish by a fond desire whom I may preserve by a sure deceit.
1.3.Sp2Phillida
1.3.Sp6Phillida
1.3.Sp9Melibeus
Exeunt.
1.4
Enter Mariner, Rafe, Robin, and Dick.1.4.Sp3Rafe
1.4.Sp6Rafe
1.4.Sp7Dick
1.4.Sp8Mariner
1.4.Sp9Robin
1.4.Sp10Rafe
1.4.Sp12Robin
1.4.Sp13Mariner
He turns to leave.
Thou art wise from the crown of thy head upwards. Seek you new fortunes now; I will follow mine old. I can shift the moon and the
sun, and know by one card what all you cannot do by a whole pair. The loadstone that always holdeth his nose to the north, the two-and-thirty points for the wind, the wonders I see would
make all you blind. You be but boys. I fear the sea no more than a dish of water.
Why, fools, it is but a liquid element. Farewell.
1.4.Sp14Robin
1.4.Sp15Rafe
1.4.Sp16Dick
1.4.Sp19Mariner
1.4.Sp21Mariner
1.4.Sp22Dick
I’ll say it. North. North-east. North-east. Nore-nore and by nore-east. I shall never
do it.
1.4.Sp24Robin
I shall never learn a quarter of it. I will try. North. North-east, is by the west
side. North and by north.
1.4.Sp28Mariner
O dullard! Is thy head lighter then the wind, and thy tongue so heavy it will not
wag? I will once again say it.
1.4.Sp29Rafe
1.4.Sp30Mariner
1.4.Sp31Rafe
1.4.Sp34Rafe
SONG
1.4.Sp36Omnes
1.4.Sp44Omnes
Exeunt.
Rove, then, no matter whither,
In fair or stormy weather.
And as we live, let’s die together.
2.1
Enter Galatea alone.2.1.Sp1Galatea
She stands aside.
Enter Phillida in man’s attire.
Blush, Galatea, that must frame thy affection fit for thy habit, and therefore be thought immodest because thou art unfortunate! Thy tender years cannot dissemble this deceit, nor thy sex bear it. Oh, would the
gods had made me as I seem to be, or that I might safely be what I seem not! Thy father doteth, Galatea, whose blind love corrupteth his fond judgment, and, jealous of thy death, seemeth to dote on thy beauty; whose fond care carrieth his partial
eye as far from truth as his heart is from falsehood. But why dost thou blame him, or blab what thou art, when thou
shouldst only counterfeit what thou art not? But whist! Here cometh a lad. I will learn of him how to behave myself.
2.1.Sp2Phillida
2.1.Sp3Galatea
2.1.Sp4Phillida
2.1.Sp6Phillida
2.1.Sp7Galatea
2.1.Sp8Phillida
Enter Diana, Telusa, and Eurota.
2.1.Sp14Telusa
2.1.Sp19Galatea
2.1.Sp20Diana
2.1.Sp23Phillida
2.1.Sp24Telusa
2.1.Sp25Diana
2.1.Sp26Phillida
Exeunt.
2.2
Enter Cupid alone in nymph’s apparel, and Neptune listening.2.2.Sp1Cupid
Exit.
Now, Cupid, under the shape of a silly girl show the power of a mighty god. Let Diana and all her coy nymphs know that there
is no heart so chaste but thy bow can wound, nor eyes so modest but thy brands can kindle, nor thoughts so staid but thy shafts can make wavering, weak, and wanton. Cupid, though he be a child,
is no baby. I will make their pains my pastimes, and so confound their loves in their
own sex that they shall dote in their desires, delight in their affections, and practice
only impossibilities. Whilst I truant from my mother, I will use some tyranny in these woods, and so shall their exercise in foolish love
be my excuse for running away. I will see whether fair faces be always chaste, or Diana’s virgins only modest;
else will I spend both my shafts and shifts; and then, ladies, if you see these dainty dames entrapped in love, say softly to yourselves, we may
all love.
2.2.Sp2Neptune
Exit.
Do silly shepherds go about to deceive great Neptune in putting on man’s attire upon women,
and Cupid, to make sport, deceive them all by using a woman’s apparel upon a god? Then, Neptune, that hast taken sundry shapes to obtain love, stick not to practice some deceit to show thy deity, and, having often thrust thyself into
the shape of beasts to deceive men, be not coy to use the shape of a shepherd to show
thyself a god. Neptune cannot be overreached by swains. Himself is subtle, and, if Diana be overtaken by craft, Cupid is wise. I will into these woods and mark all, and in the end will mar all.
2.3
Enter Rafe alone.2.3.Sp1Rafe
Enter the Alchemist’s boy, Peter.
Call you this seeking of fortunes, when one can find nothing but birds’ nests? Would
I were out of these woods! For I shall have but wooden luck. Here’s nothing but the skreeking of owls, croaking of frogs, hissing of adders, barking of foxes, walking of hags. But what be these?
(Enter Fairies, dancing and playing, and so exeunt.)
I will follow them, To hell I shall not go, for so fair faces never can have such
hard fortunes. What black boy is this?
2.3.Sp2Peter
(
To himself
) What a life do I lead with my master! Nothing but blowing of bellows, beating of
spirits, and scraping of crosslets. It is a very secret science, for none almost can understand the language of it:
sublimation, almigation, calcination, rubification, incorporation, circination, cementation,
albification, and fermentation, with as many terms unpossible to be uttered as the art to be compassed.
2.3.Sp3Rafe
2.3.Sp4Peter
2.3.Sp6Peter
2.3.Sp8Peter
2.3.Sp11Rafe
2.3.Sp14Peter
2.3.Sp15Rafe
2.3.Sp16Peter
2.3.Sp18Peter
2.3.Sp20Peter
2.3.Sp21Rafe
2.3.Sp27Rafe
Enter the Alchemist.
2.3.Sp32Peter
2.3.Sp34Alchemist
2.3.Sp37Rafe
2.3.Sp38Peter
A pottle pot? Nay, I dare warrant it a whole cupbord of plate. Why, of the quintessence of a leaden plummet he hath framed twenty dozen of silver spoons. Look how he studies. I durst venture my life he is now casting about how of his breath he may make golden bracelets, for oftentimes of smoke he hath made
silver drops.
2.3.Sp42Peter
2.3.Sp43Alchemist
2.3.Sp44Peter
2.3.Sp52Rafe
2.3.Sp53Alchemist
2.3.Sp54Peter
2.3.Sp56Alchemist
Exit.
When in the depth of my skill I determine to try the uttermost of mine art, I am dissuaded
by the gods. Otherwise, I durst undertake to make the fire, as it flames, gold; the
wind, as it blows, silver; the water, as it runs, lead; the earth, as it stands, iron;
the sky, brass; and men’s thoughts, firm metals.
2.3.Sp59Rafe
Exit.
2.3.Sp60Peter
Exit.
2.4
Enter Galatea alone.2.4.Sp1Galatea
Exit.
How now, Galatea? Miserable Galatea, that, having put on the apparel of a boy, thou
canst not also put on the mind. O fair Melebeus! Ay, too fair, and therefore, I fear, too proud. Had it not been better for thee to have been a sacrifice to Neptune then a slave to Cupid? To die for thy country
than to live in thy fancy? To be a sacrifice than a lover? Oh, would, when I hunted his eye with my heart, he might have seen my heart with his eyes! Why did Nature to him, a boy, give a face so fair, or to me, a virgin,
a fortune so hard? I will now use for the distaff the bow, and play at quoits abroad that was wont to sew in my sampler at home. It may be, Galatea. — Foolish Galatea, what may be? Nothing. Let me follow
him into the woods, and thou, sweet Venus, be my guide!
2.5
Enter Phillida alone.2.5.Sp1Phillida
Exit.
Poor Phillida, curse the time of thy birth and rareness of thy beauty, the unaptness of thy apparel and the untamedness of thy affections.
Art thou no sooner in the habit of a boy but thou must be enamored of a boy? What shalt thou do, when what best liketh
thee most discontenteth thee? Go into the woods, watch the good times, his best moods, and transgress in love a little of thy modesty. I will. — I dare
not. Thou must — I cannot. Then pine in thine own peevishness. I will not — I will.
Ah, Phillida, do something, nay, anything, rather then live thus! Well, what I will
do, myself knows not, but what I ought I know too well. And so I go, resolute either
to bewray my love or suffer shame.
3.1
Enter Telusa alone.3.1.Sp1Telusa
Enter Eurota.
How now? What new conceits, what strange contraries, breed in thy mind? Is thy Diana become a Venus, thy chaste
thoughts turned to wanton looks, thy conquering modesty to a captive imagination? Beginnest thou with piralis to die in the air and live in the fire, to leave the sweet delight of hunting and to follow the hot desire of love? O Telusa,
these words are unfit for thy sex, being a virgin, but apt for thy affections, being
a lover. And can there in years so young, in education so precise, in vows so holy, and in a heart so chaste, enter either a strong desire or a wish
or a wavering thought of love? Can Cupid’s brands quench Vesta’s flames, and his feeble shafts headed with feathers pierce deeper than Diana’s arrows headed
with steel? Break thy bow, Telusa, that seekest to break thy vow, and let those hands
that aimed to hit the wild hart scratch out those eyes that have wounded thy tame
heart. O vain and only naked name of chastity, that is made eternal and perisheth by time; holy, and is infected by fancy; divine, and is made mortal by folly! Virgins’ hearts, I perceive, are not unlike cotton trees, whose fruit is so hard in the bud that
it soundeth like steel, and, being ripe, poureth forth nothing but wool; and their
thoughts like the leaves of lunary, which, the further they grow from the sun, the sooner they are scorched with his
beams. O Melebeus, because thou art fair, must I be fickle and false my vow because I see thy virtue? Fond girl that I am, to think of love! Nay, vain profession that I follow, to disdain love! But here cometh Eurota. I must now put on a red mask
and blush, lest she perceive my pale face and laugh.
3.1.Sp2Eurota
3.1.Sp4Eurota
I am no Oedipus to expound riddles, and I muse how thou canst be Sphinx to utter them. But I pray thee, Telusa, tell me what thou
ailest. If thou be sick, this ground hath leaves to heal; if melancholy, here are pastimes to use; if peevish, wit must wean it, or
time, or counsel. If thou be in love (for I have heard of such a beast called Love), it shall be cured. Why
blushest thou, Telusa?
3.1.Sp5Telusa
3.1.Sp6Eurota
I confess that I am in love, and yet swear that I know not what it is. I feel my thoughts
unknit, mine eyes unstayed, my heart I know not how affected or infected, my sleeps broken and full of dreams, my wakeness sad and full of sighs, myself in all things unlike myself. If this be love, I would
it had never been devised.
3.1.Sp7Telusa
3.1.Sp9Telusa
3.1.Sp10Eurota
They conceal themselves.
Enter Ramia.
3.1.Sp13Ramia
(To herself) Can there be no heart so chaste but love can wound? Nor vows so holy but affection can violate? Vain art thou, virtue, and thou, chastity, but a byword, when you both are subject to love, of all things the most abject. If Love be a god,
why should not lovers be virtuous? Love is a god, and lovers are virtuous.
3.1.Sp14Eurota
3.1.Sp17Eurota
3.1.Sp18Ramia
If myself felt only this infection, I would then take upon me the definition, but, being incident to so many, I dare not myself describe it. But we will all talk of that in the woods.
Diana stormeth that, sending one to seek another, she loseth all. Servia, of all the nymphs the coyest, loveth deadly, and exclaimeth against Diana, honoreth Venus, detesteth Vesta, and maketh a common
scorn of virtue. Clymene, whose stately looks seemed to amaze the greatest lords, stoopeth, yieldeth, and fawneth on the strange boy in the woods. Myself (with blushing I speak it) am thrall to that boy, that fair
boy, that beautiful boy!
3.1.Sp19Telusa
3.1.Sp22Telusa
3.1.Sp23Ramia
3.1.Sp25Telusa
Exeunt.
Immodest all that we are, unfortunate all that we are like to be, shall virgins begin to wrangle for love and become wanton in their thoughts,
in their words, in their actions? O divine Love, which art therefore called divine
because thou overreachest the wisest, conquerest the chastest, and dost all things both unlikely and impossible,
because thou art Love! Thou makest the bashful impudent, the wise fond, the chaste wanton, and workest contraries to our reach, because thyself is beyond reason.
3.2
Enter Phillida and Galatea .3.2.Sp1Phillida
3.2.Sp2Galatea
3.2.Sp3Phillida
3.2.Sp5Phillida
Nay, I do not wish to be a woman, for then I should not love thee, for I have sworn
never to love a woman.
3.2.Sp6Galatea
3.2.Sp7Phillida
3.2.Sp8Galatea
If it be a shame in me, it can be no commendation in you, for yourself is of that
mind.
3.2.Sp9Phillida
Suppose I were a virgin (I blush in supposing myself one), and that under the habit of a boy were the person of a maid: if I should utter my affection with sighs, manifest
my sweet love by my salt tears, and prove my loyalty unspotted and my griefs intolerable,
would not then that fair face pity this true heart?
3.2.Sp10Galatea
3.2.Sp22Galatea
3.2.Sp23Phillida
3.2.Sp27Phillida
Exeunt.
Come, let us into the grove, and make much one of another, that cannot tell what to
think one of another.
3.3
Enter the Alchemist and Rafe.3.3.Sp3Alchemist
He turns to go.
3.3.Sp6Rafe
I would I had not known the beginning. Did not you promise me of my silver thimble
to make a whole cupboard of plate, and that of a Spanish needle you would build a
silver steeple?
3.3.Sp7Alchemist
Ay, Rafe. The fortune of this art consisteth in the measure of the fire, for if there be a coal too much or a spark too little, if it be a little
too hot or a thought too soft, all our labor is in vain. Besides, they that blow must
beat time with their breaths, as musicians do with their breasts, so as there must be of the metals, the fire, and workers a very harmony.
3.3.Sp8Rafe
3.3.Sp9Alchemist
Exit Alchemist.
Enter Astronomer, gazing up at the sky, with an almanac in his hands. He and Rafe
do not notice each other at first.
So is it, and often doth it happen, that the just proportion of the fire and all things
concur.
3.3.Sp12Rafe
An art, quoth you, that one multiplieth so much all day that he wanteth money to buy meat at night?(
Seeing the Astronomer
) But what have we yonder? What devout man? He will never speak till he be urged. I will salute him. — Sir, there lieth a purse under your feet. If I thought it were not yours, I would take it up.
3.3.Sp13Astronomer
Dost thou not know that I was calculating the nativity of Alexander’s great horse?
3.3.Sp17Astronomer
Ipsissimus. I can tell the minute of thy birth, the moment of thy death, and the manner. I can
tell thee what weather shall be between this and octgessimus octavus mirabilis annus. When I list I can set a trap for the sun, catch the moon with lime-twigs, and go a-batfowling for stars. I can tell thee things past and things to come, and with my cunning measure how many yards of clouds are beneath the sky. Nothing can happen which I foresee not; nothing shall.
3.3.Sp20Rafe
3.3.Sp25Astronomer
3.3.Sp26Rafe
3.3.Sp28Rafe
3.3.Sp30Rafe
3.3.Sp31Astronomer
That I must cast by our judicials astronomical. Therefore come in with me, and thou shall see every wrinkle in my astrological wisdom,
and I will make the heavens as plain to thee as the highway. Thy cunning shall sit
cheek by jowl with the sun’s chariot. Then shalt thou see what a base thing it is
to have others’ thoughts creep on the ground, whenas thine shall be stitched to the
stars.
3.3.Sp34Rafe
Exeunt.
O fortune! I feel my very brains moralized, and as it were a certain contempt of earthly
actions is crept into my mind by an ethereal contemplation. Come, let us in.
3.4
Enter Diana, Telusa, Eurota, Ramia, and Larissa.3.4.Sp1Diana
Exeunt Telusa and Larissa.
What news have we here, ladies? Are all in love? Are Diana’s nymphs become Venus’s
wantons? Is it a shame to be chaste because you be amiable? Or must you needs be amorous because you are fair? O Venus, if this be thy spite
I will requite it with more then hate. Well shalt thou know what it is to drib thine arrows up and down Diana’s leas. There is an unknown nymph that straggleth up and down these woods, which I suspect hath been the weaver of
these woes, I saw her slumbering by the brook-side. Go search her and bring her. If
you find upon her shoulder a burn, it is Cupid; if any print on her back like a leaf, it is Medea; if any picture on her left breast like a bird, it is Calypso. Whoever it be, bring her hither, and speedily bring her hither.
3.4.Sp5Diana
Now, ladies, doth not that make your cheeks blush that makes mine ears glow? Or can
you remember that without sobs which Diana cannot think on without sighs? What greater
dishonor could happen to Diana, or to her nymphs shame, than that there can be any time so idle that should make their heads so addle? Your chaste hearts, my nymphs, should resemble the onyx, which is hottest when it is whitest; and your thoughts, the more they are assaulted
with desires, the less they should be affected. You should think love like Homer’s
moly: a white leaf and a black root, a fair show and a bitter taste. Of all trees the
cedar is greatest and hath the smallest seed; of all affections, love hath the greatest
name and the least virtue. Shall it be said, and shall Venus say it — nay, shall it
be seen, and shall wantons see it — that Diana, the goddess of chastity, whose thoughts
are always answerable to her vows, whose eyes never glanced on desire, and whose heart
abateth the point of Cupid’s arrows, shall have her virgins to become unchaste in desires,
immoderate in affection, untemperate in love, in foolish love, in base love? Eagles
cast their evil feathers in the sun, but you cast your best desires upon a shadow. The birds ibes lose their sweetness when they lose their sights, and virgins all their virtues with their unchaste thoughts. “Unchaste,” Diana calleth
that that hath either any show or suspicion of lightness. O my dear nymphs, if you
knew how loving thoughts stain lovely faces, you would be as careful to have the one as unspotted as the other beautiful.
Cast before your eyes the loves of Venus’s trulls, their fortunes, their fancies, their ends. What are they else but Silenus’s pictures — without, lambs and doves; within, apes and owls — who, like Ixion, embrace clouds for Juno, the shadows of virtue instead of the substance. The eagle’s feathers consume the
feathers of all others, and love’s desire corrupteth all other virtues. I blush, ladies, that you, having
been heretofore patient of labors, should now become prentices to idleness and use the pen for sonnets, not the needle
for samplers. And how is your love placed? Upon pelting boys, perhaps base of birth, without doubt weak of discretion. Ay, but they are fair.
O ladies, do your eyes begin to love colors, whose hearts was wont to loathe them? Is Diana’s chase become Venus’s court? And are your holy vows turned to hollow thoughts?
3.4.Sp6Ramia
3.4.Sp7Eurota
3.4.Sp8Diana
Enter Telusa and others (Larissa and perhaps other nymphs) with Cupid.
Foolish girls, how willing you are to follow that which you should fly! But here cometh
Telusa.
3.4.Sp9Telusa
We have brought the disguised nymph, and have found on his shoulder Psyche’s burn,
and he confesseth himself to be Cupid.
3.4.Sp12Diana
And thou shalt see, Cupid, that I will show myself to be Diana — that is, conqueror
of thy loose and untamed appetites. Did thy mother, Venus, under the color of a nymph, send thee hither to wound my nymphs? Doth she add craft to her malice, and,
mistrusting her deity, practice deceit? Is there no place but my groves, no persons but my nymphs? Cruel
and unkind Venus, that spiteth only chastity, thou shalt see that Diana’s power shall
revenge thy policy and tame this pride. As for thee, Cupid, I will break thy bow and burn thine arrows,
bind thy hands, clip thy wings, and fetter thy feet. Thou that fattest others with
hopes shalt be fed thyself with wishes, and thou that bindest others with golden thoughts shalt be bound thyself with golden fetters. Venus’s rods are made of roses, Diana’s of briars. Let Venus, that great goddess, ransom Cupid,
that little god. These ladies here, whom thou hast infected with foolish love, shall
both tread on thee and triumph over thee. Thine own arrow shall be shot into thine
own bosom, and thou shalt be enamored, not on Psyches, but on Circes. I will teach thee what it is to displease Diana, distress her nymphs, or disturb
her game.
3.4.Sp13Cupid
3.4.Sp14Diana
Exeunt.
Are you prating? I will bridle thy tongue and thy power, and in spite of mine own
thoughts I will set thee a task every day which, if thou finish not, thou shalt feel the smart. Thou shalt be used as Diana’s slave, not Venus’s son. All the world shall see that
I will use thee like a captive, and show myself a conqueror.
(
To her nymphs
) Come, have him in, that we may devise apt punishments for his proud presumptions.
4.1
Enter Augur, Melibeus, Tityrus, and Populus.4.1.Sp1Augur
Exit Augur.
This is the day wherein you must satisfy Neptune and save yourselves. Call together
your fair daughters, and for a sacrifice take the fairest; for better it is to offer
a virgin than suffer ruin. If you think it against nature to sacrifice your children,
think it also against sense to destroy your country. If you imagine Neptune pitiless
to desire such a prey, confess yourselves perverse to deserve such a punishment. You
see this tree, this fatal tree, whose leaves, though they glister like gold, yet it
threateneth to fair virgins grief. To this tree must the beautifullest be bound until
the monster Agar carry her away, and, if the monster come not, then assure yourselves
that the fairest is concealed; and then your country shall be destroyed. Therefore
consult with yourselves, not as fathers of children, but as favorers of your country.
Let Neptune have his right if you will have your quiet. Thus have I warned you to
be careful, and would wish you to be wise, knowing that whoso hath the fairest daughter
hath the greatest fortune, in losing one to save all. And so I depart to provide ceremonies
for the sacrifice, and command you to bring the sacrifice.
4.1.Sp2Melibeus
They say, Tityrus, that you have a fair daughter. If it be so, dissemble not, for
you shall be a fortunate father. It is a thing holy to preserve one’s country, and
honorable to be the cause.
4.1.Sp3Tityrus
4.1.Sp4Melibeus
I must confess that I had a daughter, and I know you have; but alas! My child’s cradle
was her grave and her swath-clout her winding sheet. I would she had lived till now. She should willingly have died now; for what could
have happened to poor Melibeus more comfortable than to be the father of a fair child and sweet country?
4.1.Sp5Tityrus
Oh, Melibeus, dissemble you may with men; deceive the gods you cannot. Did not I see
(and very lately see) your daughter in your arms, whenas you gave her infinite kisses
with affection I fear me more then fatherly? You have conveyed her away that you might
cast us all away, bereaving her the honor of her beauty and us the benefit, preferring
a common inconvenience before a private mischief.
4.1.Sp6Melibeus
It is a bad cloth, Tityrus, that will take no color, and a simple father that can use no cunning. You make the people believe that you wish well when
you practice nothing but ill, wishing to be thought religious towards the gods when
I know you deceitful towards men. You cannot overreach me, Tityrus; overshoot yourself you may. It is a wily mouse that will breed in the cat’s ear, and he must halt cunningly that will deceive a cripple. Did you ever see me kiss my daughter? You are deceived;
it was my wife. And if you thought so young a piece unfit for so old a person, and therefore imagined it to be my child, not my spouse,
you must know that silver hairs delight in golden locks, and the old fancies crave young nurses, and frosty years
must be thawed by youthful fires. But this matter set aside, you have a fair daughter,
Tityrus, and it is pity you are so fond a father.
4.1.Sp7Populus
4.1.Sp8Alter
Exeunt.
4.2
Enter Cupid. Telusa, Eurota, and Larissa enter singing, with Ramia.4.2.Sp1Telusa
4.2.Sp3Eurota
4.2.Sp5Larissa
4.2.Sp6All Three
And in her tears he shall be drowned.
Read his indictment; let him hear
Boy, give ear!
4.2.Sp7Telusa
4.2.Sp8Cupid
If they be true love-knots, ’tis unpossible to unknit them; if false, I never tied
them.
4.2.Sp10Cupid
They threaten him.
Love-knots are tied with eyes and cannot be undone with hands, made fast with thoughts
and cannot be unlosed with fingers. Had Diana no task to set Cupid to but things impossible?
4.2.Sp11
He sets to work, unwillingly, on a love-knot.
He tries another.
I will to it.
4.2.Sp20Telusa
4.2.Sp21Cupid
He gives up on another love-knot.
He takes up another, and laughs.
4.2.Sp27Cupid
He bestows it on Larissa.
4.2.Sp34Telusa
Exit Telusa with Ramia and Eurota.
4.2.Sp40Cupid
He offereth and starts to go to sleep.
Enter Ramia and Telusa, and perhaps Eurota.
(
To the absent Venus
) O Venus, if thou sawest Cupid as a captive, bound to obey that was wont to command,
fearing ladies’ threats that once pierced their hearts, I cannot tell whether thou
wouldst revenge it for despite or laugh at it for disport. (To the absent Diana) The time may come, Diana, and the time shall come, that thou that settest Cupid to
undo knots shalt entreat Cupid to tie knots. (To the ladies in the audience, perhaps also to the absent nymphs) And you ladies that with solace have beheld my pains shall with sighs intreat my
pity.
4.2.Sp42Ramia
Come, Cupid, Diana hath devised new labors for you that are god of loves. You shall
weave samplers all night, and lackey after Diana all day. You shall shortly shoot at beasts for men because you have made beasts of men, and wait on ladies’ trains because thou entrappest ladies by trains. All the stories that are in Diana’s arras which are of love you must pick out with your needle, and in that place sew Vesta with her nuns and Diana with her nymphs. How like you this, Cupid?
4.2.Sp47Cupid
Exeunt.
You shall find me so busy in your heads that you shall wish I had been idle with your
hearts.
4.3
Enter Neptune alone.4.3.Sp1Neptune
Exit.
This day is the solemn sacrifice at this tree, wherein the fairest virgin (were not
the inhabitants faithless) should be offered unto me. But so over-careful are fathers
to their children that they forget the safety of their country, and, fearing to become
unnatural, become unreasonable. Their sleights may blear men; deceive me they cannot. I will be here at the hour, and show as great cruelty as
they have done craft, and well shall they know that Neptune should have been entreated,
not cozened.
4.4
Enter Galatea and Phillida.4.4.Sp1Phillida
4.4.Sp3Phillida
I pray thee, sweet boy, flatter not me. Speak truth of thyself, for in mine eye of
all the world thou art fairest.
4.4.Sp4Galatea
4.4.Sp5Phillida
4.4.Sp7Phillida
4.4.Sp14Galatea
Because I dreamt that if I were there I should be turned to a virgin, and then being
so fair (as thou say’st I am) I should be offered, as thou knowest one must. But will
not you be there?
4.4.Sp17Phillida
Exit.
But I would escape it by deceit. But seeing we are resolved to be both absent, let
us wander into these groves till the hour be past.
4.4.Sp21Phillida
Exit.
I will. — Poor Phillida, what shouldst thou think of thyself, that lovest one that, I fear
me, is as thyself is? And may it not be that her father practiced the same deceit
with her that my father hath with me, and, knowing her to be fair, feared she should
be unfortunate? If it be so, Phillida, how desperate is thy case! If it be not, how
doubtful! For if she be a maiden, there is no hope of my love; if a boy, a hazard.
I will after him or her, and lead a melancholy life, that look for a miserable death.
5.1
Enter Rafe alone.5.1.Sp1Rafe
Enter Robin.
No more masters now, but a mistress, if I can light on her. An astronomer! Of all
occupations that’s the worst. Yet well fare the Alchemist, for he keeps good fires though he gets no gold; the other stands warming himself by staring on the stars, which I think he can as soon number
as know their virtues. He told me a long tale of octogessimus octavus, and the meeting of the conjunctions and planets, and in the meantime he fell backward
himself into a pond. I asked him why he foresaw not that by the stars. He said he
knew it but contemned it. But soft, is not this my brother Robin?
5.1.Sp5Rafe
5.1.Sp7Rafe
5.1.Sp15Rafe
5.1.Sp16Robin
5.1.Sp18Robin
5.1.Sp19Rafe
He shows Robin a list of astrological names
5.1.Sp21Rafe
5.1.Sp23Rafe
Enter Peter, not seeing the other two at first.
5.1.Sp25Rafe
5.1.Sp26Peter
5.1.Sp27Rafe
5.1.Sp28Peter
5.1.Sp31Peter
5.1.Sp32Rafe
5.1.Sp34Rafe
Exeunt.
5.2
Enter Augur and Ericthinis.5.2.Sp1Augur
5.2.Sp2Ericthinis
Enter Hebe, with other, to the sacrifice.
She is bound to the tree.
Here she cometh, accompanied only with men, because it is a sight unseemly (as all
virgins say) to see the misfortune of a maiden, and terrible to behold the fierceness
of Agar the monster.
5.2.Sp3Hebe
Miserable and accursed Hebe, that, being neither fair nor fortunate, thou shouldst
be thought most happy and beautiful! Curse thy birth, thy life, thy death, being born
to live in danger and, having lived, to die by deceit. Art thou the sacrifice to appease
Neptune and satisfy the custom, the bloody custom, ordained for the safety of thy
country? Ay, Hebe, poor Hebe: men will have it so, whose forces command our weak natures.
Nay, the gods will have it so, whose powers dally with our purposes. The Egyptians
never cut their dates from the tree, because they are so fresh and green; it is thought
wickedness to pull roses from the stalks in the garden of Palestine, for that they
have so lively a red; and whoso cutteth the incense tree in Arabia before it fall
committeth sacrilege.
Shall it only be lawful amongst us in the prime of youth and pride of beauty to
destroy both youth and beauty, and what was honored in fruits and flowers as a virtue
to violate in a virgin as a vice? But alas! Destiny alloweth no dispute. Die, Hebe,
Hebe, die! Woeful Hebe, and only accursed Hebe! Farewell the sweet delights of life, and welcome now the bitter pangs
of death! Farewell, you chaste virgins, whose thoughts are divine, whose faces fair, whose fortunes are agreeable to your affections! Enjoy, and long enjoy, the pleasure of your curled locks, the amiableness of your
wished looks, the sweetness of your tuned voices, the content of your inward thoughts, the pomp of your outward shows. Only
Hebe biddeth farewell to all the joys that she conceived and you hope for, that she
possessed and you shall. Farewell, the pomp of princes’ courts, whose roofs are embossed
with gold and whose pavements are decked with fair ladies; where the days are spent
in sweet delights, the nights in pleasant dreams; where chastity honoreth affections
and commandeth, yieldeth to desire and conquereth!
5.2.Sp4
They wait, but no monster comes.
Farewell, the sovereign of all virtue and goddess of all virgins, Diana, whose perfections
are impossible to be numbered and therefore infinite, never to be matched and therefore
immortal! Farewell, sweet parents, yet, to be mine, unfortunate parents! How blessed had you been in barrenness! How happy had I been
if I had not been! Farewell, life, vain life, wretched life, whose sorrows are long, whose end doubtful,
whose miseries certain, whose hopes innumerable, whose fears intolerable! Come, Death,
and welcome, Death, whom nature cannot resist, because necessity ruleth, nor defer
because destiny hasteth! Come, Agar, thou unsatiable monster of maidens’ blood and
devourer of beauty’s bowels. Glut thyself till thou surfeit, and let my life end thine. Tear these tender joints with thy greedy jaws, these yellow locks with thy black
feet, this fair face with thy foul teeth. Why abatest thou thy wonted swiftness? I
am fair; I am a virgin; I am ready. Come, Agar, thou horrible monster, and farewell,
world, thou viler monster!
5.2.Sp5Augur
Hebe is unbound.
5.2.Sp8Hebe
Fortunate Hebe, how shalt thou express thy joys? Nay, unhappy girl, that art not the
fairest. Had it not been better for thee to have died with fame than to live with
dishonor, to have preferred the safety of thy country and rareness of thy beauty before
sweetness of life and vanity of the world? But alas! Destiny would not have it so.
Destiny could not, for it asketh the beautifullest. I would, Hebe, thou hadst been
beautifullest.
5.2.Sp9Ericthinis
Exeunt.
Come, Hebe, here is no time for us to reason. It had been best for us thou hadst been
most beautiful.
5.3
Enter Phillida and Galatea.5.3.Sp1Phillida
We met the virgin that should have been offered to Neptune. Belike either the custom
is pardoned or she not thought fairest.
5.3.Sp5Phillida
5.3.Sp6Neptune
Enter Diana with her nymphs.
And do men begin to be equal with gods, seeking by craft to overreach them that by
power oversee them? Do they dote so much on their daughters that they stick not to dally with our deities? Well shall the inhabitants see that destiny cannot
be prevented by craft nor my anger be appeased by submission. I will make havoc of
Diana’s nymphs. My temple shall be dyed with maidens’ blood, and there shall be nothing
more vile then to be a virgin. To be young and fair shall be accounted shame and punishment,
insomuch as it shall be thought as dishonorable to be honest as fortunate to be deformed.
5.3.Sp7Diana
Enter Venus.
O Neptune, hast thou forgotten thyself, or wilt thou clean forsake me? Hath Diana
therefore brought danger to her nymphs because they be chaste? Shall virtue suffer
both pain and shame, which always deserveth praise and honor?
5.3.Sp8Venus
Praise and honor, Neptune; nothing less, except it be commendable to be coy and honorable to be peevish. Sweet Neptune, if Venus
can do anything, let her try it in this one thing: that Diana may find as small comfort
at thy hands as Love hath found courtesy at hers. This is she that hateth sweet delights, envieth loving
desires, masketh wanton eyes, stoppeth amorous ears, bridleth youthful mouths, and,
under a name or a word “constancy,” entertaineth all kind of cruelty. She hath taken my son Cupid — Cupid, my lovely son — using him
like a prentice, whipping him like a slave, scorning him like a beast. Therefore,
Neptune, I entreat thee by no other god than the god of love that thou evil entreat this goddess of hate.
5.3.Sp9Neptune
5.3.Sp10Diana
I say there is nothing more vain than to dispute with Venus, whose untamed affections
have bred more brawls in heaven than is fit to repeat in earth or possible to recount
in number. I have Cupid, and will keep him — not to dandle in my lap, whom I abhor
in my heart, but to laugh him to scorn that hath made in my virgins’ hearts such deep
scars.
5.3.Sp11Venus
Scars, Diana, call you them that I know to be bleeding wounds? Alas, weak deity! It
stretcheth not so far, both to abate the sharpness of his arrows and to heal the hurts.
No, love’s wounds, when they seem green, rankle, and, having a smooth skin without, fester to the death within. Therefore, Neptune, if ever Venus stood thee in stead, furthered thy fancies, or shall at all times be at thy command, let either Diana bring her virgins to a
continual massacre or release Cupid of his martyrdom .
5.3.Sp12Diana
5.3.Sp13Venus
It is an honor for Diana to have Venus mean ill, when she so speaketh well. But you shall see I come not to trifle. Therefore once again, Neptune, if that be
not buried which can never die — fancy — or that quenched which must ever burn — affection — show thyself the same Neptune that I knew thee to be when thou wast a shepherd,
and let not Venus’s words be vain in thine ears, since thine were imprinted in my
heart.
5.3.Sp14Neptune
It were unfit that goddesses should strive, and it were unreasonable that I should
not yield. And therefore to please both, both attend. Diana I must honor; her virtue
deserveth no less. But Venus I must love; I must confess so much. Diana, restore Cupid
to Venus, and I will forever release the sacrifice of virgins. If therefore you love
your nymphs as she doth her son, or prefer not a private grudge before a common grief, answer what you will do.
5.3.Sp15Diana
I account not the choice hard, for, had I twenty Cupids, I would deliver them all
to save one virgin, knowing love to be a thing of all the vainest, virginity to be
a virtue of all the noblest. I yield. — Larissa, bring out Cupid.(
Exit Larissa.
)
And now shall it be said that Cupid saved those he thought to spoil.
5.3.Sp16Venus
I agree to this willingly, for I will be wary how my son wander again. But Diana cannot
forbid him to wound.
5.3.Sp19Neptune
Enter Larissa with Cupid.
5.3.Sp21Venus
5.3.Sp22Cupid
Coming through Diana’s woods, and seeing so many fair faces with fond hearts, I thought
for my sport to make them smart, and so was taken by Diana.
5.3.Sp25Venus
5.3.Sp26Cupid
Enter Tityrus and Melibeus. Enter Galatea and Phillida, who follow at a distance, unseen at first by the characters on stage.
5.3.Sp39Galatea
(
To herself
) And wast thou all this while enamored of Phillida, that sweet Phillida?
5.3.Sp40Phillida
(
To herself
) And couldst thou doat upon the face of a maiden, thyself being one, on the face of
fair Galatea?
5.3.Sp42Galatea
5.3.Sp43Phillida
I had thought that in the attire of a boy there could not have lodged the body of
a virgin, and so was inflamed with a sweet desire which now I find a sour deceit.
5.3.Sp44Diana
5.3.Sp47Neptune
An idle choice, strange and foolish, for one virgin to dote on another, and to imagine
a constant faith where there can be no cause of affection. — How like you this, Venus?
5.3.Sp48Venus
I like well and allow it. They shall both be possessed of their wishes, for never
shall it be said that Nature or Fortune shall overthrow Love and Faith.(To Galatea and Phillida) Is your love unspotted, begun with truth, continued with constancy, and not to be
altered till death?
5.3.Sp54Venus
5.3.Sp58Tityrus
5.3.Sp65Venus
5.3.Sp74Venus
Enter Rafe, Robin, and Dick.
5.3.Sp77Rafe
Come, Robin, I am glad I have met with thee, for now we will make our father laugh
at these tales.
5.3.Sp81Rafe
We do not mean fortune-tellers, we mean fortune tellers. We can tell what fortune
we have had these twelve months in the woods.
5.3.Sp92Rafe
Exeunt.
Content? Never better content! For there we shall be sure to fill our bellies with
capons’ rumps, or some such dainty dishes.
The Epilogue
Galatea comes forward as the rest leave.Epi.Sp1Galatea
Exit.
Go all, ’tis I only that conclude all. You ladies may see that Venus can make constancy fickleness, courage cowardice, modesty lightness,
working things impossible in your sex and tempering hardest hearts like softest wool.
Yield, ladies, yield to love, ladies, which lurketh under your eyelids whilst you
sleep and playeth with your heartstrings whilst you wake; whose sweetness never breedeth
satiety, labor weariness, nor grief bitterness. Cupid was begotten in a mist, nursed in clouds, and sucking only upon conceits. Confess him a conqueror, whom ye ought to regard, sith it is unpossible to resist; for this is infallible, that love conquereth all things
but itself, and ladies all hearts but their own.
FINIS.
Annotations
mermaids
The quarto spelling of
maremaidespreserves the rhyme with fair maids later in the line (Scragg), and emphasizes the nightmare-ish qualities of Tityrus’ tale.
beasts
as, for example, Zeus or Jupiter taking the guise of a swan to win
Leda, as a bull to run off with Europa, etc.
Omnes … feather.
This song is omitted from the 1592 edition of
Gallathea, as are the others in this play. Blount
includes all the songs mentioned in the play except one in the 1632 edition. The
omission from the early edition is typical of the songs in Lyly’s plays (Scragg 54n87-105).
Are you a maid?
Are you a virgin — a question that Galatea would interpret as
“Of what sex are you?” (JJ questions this DB’s reading here.)
deer
This is the beginning of the auditory pun on
dear/deer in this scene. Recent editors have modernized the spelling and selected
the spelling of dear that best suits the sense of the sentence in their
interpretation (Lancashire, Hunter, Scragg). However, in both the 1592 and 1632 editions
of Gallathea, the word is spelled
Deare.
fermentation
These terms describe the heating and fusing of substances until
they are vaporized, then reduced to powder and reheated until red hot, combined
with other substances, stirred until white, fermented, etc.
indurative
These alchemical instruments include various vessels used in
vaporizing and distillation, both hand-held and affixed to a wall, in order to
produce absorption, softening, and hardening.
not
The substances here include potassium nitrate, sulfuric acid,
potassium carbonate, prepared salts, tartars, disulphide of arsenic, ammonium
chloride, and various herbs and yeasts, along with lime, chalk, ashes, and
hair.
Danae?
When Danae was confined by her father, King Acrisius of Argos, to
a brazen tower, Jupiter or Zeus visited her in a shower of gold, conceiving
Perseus as their son.
thumb.
Proverbially, an honest miller was said to have a golden
thumb — a rare occurrence, since honest millers were rare. The miller would teste
the quality of the meal by rubbing it between his thumb and forefinger.
flames
the eternal flame guarded by the Vestal Virgins in the temple of
Vesta, Roman goddess of the hearth
and
and yet
This meaning of “and”persists through
the next clauses, as Galatea muses on the contradictions of chastity.
feet
like the proverbial absent-minded philosopher, so intently
contemplating the heavens that he is unaware of what lies at his feet
zodiacs
the ecliptic or pathway in the stars that contains the twelve
signs of the zodiac and through which the sun and planets move
taverns
where tavern signboards might feature such zodiacal signs as Aries
the Ram, Taurus the Bull, Cancer the Crab, Leo the Lion, etc.
head.
These asssociations of the twelve zodiacal constellations with
various parts of the body were a central part of astrological lore.
moly
a magical herb given by Hermes or Mercury to Odysseus to protect
him against Circe’s powers of enchantment (Odyssey, Book 10)
sun
a legend telling how the old eagle finds renewal by exposing
itself to excessive heat of the sun, then plunging into cold water in order to
shed its old plumage
owls
According to one legendary account, when the jolly satyr Silenus
ascended to the skies, the ass on which he rode was placed among the stars and his
pictures of apes and owls were covered over by embroidered representations of
lions and eagles.
Juno
For attempting to win the love of Hera or Juno, Ixion was tricked
by Zeus or Jupiter into making love to a cloud, Nephele, that resembled Juno. By
this cloud Ixion fathered the centaurs.
Circes
i.e.you will be infatuated not with an ennobling and spiritual
love but with base enchantment
thoughts
i.e. despite my inclination to exercise a godlike mercy, or to
have nothing to do with you, or, conversely, to revenge myself on you more
harshly
stone
the magical substance vainly sought by alchemists that could
convert all metals into gold; also, the testicles
brothers.
This master, evidently a shystering lawyer, will devise a way to
give Dick the means to claim the right of the oldest brother and thereby inherit
all their father’s estate, the mill.
points.
That’s as likely as if your (Peter’s) former master, the
Alchemist, could transmute the metal tag-tips for fastening clothes into silver
tankards.
conquereth
i.e. where chaste love is held in honor and yields to desire in
such a way as to command and control affection in virtuous marriage
martyrdom
i.e. unless Cupid is released, Diana’s nymphs will suffer
continual and violent reprisal from Venus
jars.
Their pardon has been obtained not by any merit on your part, but
as a consequence of the enmity between Diana and Venus.
Ianthes?
When a young woman was given the male name of Iphis to spare her
life but was then engaged against her will to marry the beautiful Ianthe, Iphis
and her mother prevailed on the goddess Isis to change Iphis’s sex to that of a
male, whereupon he and Ianthe were able to marry happily.
door.
(The audience is also left to guess, though Galatea, disguised as
a boy already as the play begins, is perhaps a logical choice to be the designated
male.)
it.
To their two voices I’ll add a third, singing the treble part (in
a song with which the original presumably concluded).
Collations
mermaids
Dear
!
Enter … Phillida.
wreck
To the Mariner
He … leave.
To … Mariner.
Ay
!
Bevington changes periods to exclamation marks at comparable moments in the text.
This change here has been collated as an example.
To Rafe
Enter … alone.
!
!
heart
!
She … aside.
To herself
!
!
Aside … Phillida
Aside
Aside
Aside
Aside
Aside
To Galatea
deer
deer
deer
dear
To Diana
Aside
the
dear
!
To Phillida
To Diana
To Phillida
deer
halloo
Aside
To Galatea
Aside
To himself
Aside
Aside
lunary
Aside
Aside
Coming forward
!
Aside
twenty
Coming forward
Indicating Rafe
To Rafe
not
heart
They … themselves.
Characters
Prologue
Tityrus, father of Galatea
Galatea
Cupid
Nymph
Melibeus, father of Phillida
Phillida
Robin, brother of Rafe and Dick
Mariner
Rafe, brother of Robin and Dick
Dick, brother of Robin and Rafe
Diana
Telusa
Neptune
Peter, servant to the Alchemist
Alchemist
Eurota
Ramia
Astronomer
Larissa
Augur
Populus
Alter
Ericthinis, a citizen
Hebe
Venus, goddess of love
Prosopography
David Bevington
David Bevington was the Phyllis Fay Horton Distinguished Service Professor Emeritus
in the Humanities at the University of Chicago. His books include From
Mankindto Marlowe (1962), Tudor Drama and Politics (1968), Action Is Eloquence (1985), Shakespeare: The Seven Ages of Human Experience (2005), This Wide and Universal Theater: Shakespeare in Performance, Then and Now (2007), Shakespeare’s Ideas (2008), Shakespeare and Biography (2010), and Murder Most Foul: Hamlet Through the Ages (2011). He was the editor of Medieval Drama (1975), The Bantam Shakespeare, and The Complete Works of Shakespeare. The latter was published in a seventh edition in 2014. He was a senior editor of the Revels Student Editions, the Revels Plays, The Norton Anthology of Renaissance Drama, and The Cambridge Edition of the Works of Ben Jonson (2012). Professor Bevington passed away on August 2, 2019.
Donald Bailey
Eric Rasmussen
Eric Rasmussen is Regents Teaching Professor and Foundation Professor of English at
the University of Nevada. He is co-editor with Sir Jonathan Bate of the RSC William Shakespeare Complete Works and general editor, with Paul Werstine, of the New Variorum Shakespeare. He has received the Falstaff Award from PlayShakespeare.com for Best Shakespearean Book of the Year in 2007, 2012, and 2013.
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of Victoria, Director
of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.
John Lyly
Kate LeBere
Project Manager, 2020–2021. Assistant Project Manager, 2019–2020. Textual Remediator
and Encoder, 2019–2021. Kate LeBere completed her BA (Hons.) in History and English
at the University of Victoria in 2020. During her degree she published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History
Conference (2020), and the Digital Humanities Summer Institute’s Project Management
in the Humanities Conference (2021). While her primary research focus was sixteenth
and seventeenth century England, she completed her honours thesis on Soviet ballet
during the Russian Cultural Revolution. She is currently a student at the University
of British Columbia’s iSchool, working on her masters in library and information science.
Martin Holmes
Martin Holmes has worked as a developer in the UVicʼs Humanities Computing and Media
Centre for over two decades, and has been involved with dozens of Digital Humanities
projects. He has served on the TEI Technical Council and as Managing Editor of the
Journal of the TEI. He took over from Joey Takeda as lead developer on LEMDO in 2020.
He is a collaborator on the SSHRC Partnership Grant led by Janelle Jenstad.
Michael Best
Michael Best is Professor Emeritus at the University of Victoria, BC. He is the Founding
Editor of the Internet Shakespeare Editions, of which he was the Coordinating Editor
until 2017. In print, he has published editions of works of Elizabethan magic and
huswifery, a collection of letters from the Australian goldfields, and Shakespeare on the Art of Love (2008). He contributed regular columns for the Shakespeare Newsletter on
Electronic Shakespeares,and has written many articles and chapters for both print and online books and journals, principally on questions raised by the new medium in the editing and publication of texts. He has delivered papers and plenary lectures on electronic media and the Internet Shakespeare Editions at conferences in Canada, the USA, the UK, Spain, Australia, and Japan.
Nicole Vatcher
Technical Documentation Writer, 2020–2022. Nicole Vatcher completed her BA (Hons.)
in English at the University of Victoria in 2021. Her primary research focus was womenʼs
writing in the modernist period.
Sarah Fowler
Sarah Fowler is a fourth-year undergraduate student in the English Honours program
at the University of Victoria. She is encoding the early editions of Gallathea as a part of her work for the Jamie Cassels Undergraduate Research Project under
Janelle Jenstad.
Tracey El Hajj
Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD
from the Department of English at the University of Victoria in the field of Science
and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched
Teaching at UVic, where she taught an advanced course on
Artificial Intelligence and Everyday Life.Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.
William Shakespeare
Bibliography
Hunter, G.K., ed. Galatea, by John Lyly. In Galatea and Midas, by John Lyly. Revels Plays. Manchester: Manchester University Press, 2000.
Lancashire, Anne Begor, ed. Gallathea and Midas, by John Lyly. Regents Renaissance Drama. Lincoln: University of Nebraska Press, 1969.
Scragg, Leah, ed. Galatea. By John Lyly. Manchester: Manchester University Press, 2012.
Orgography
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
University of Victoria (UVIC1)
https://www.uvic.ca/Witnesses
1592 quarto text printed by Broome
1632 duodecimo text printed by Stansby
Metadata
Authority title | Galatea |
Type of text | Primary Source |
Short title | Gal: M |
Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
Series | |
Source |
This file has been converted from IML, the SGML markup language of the Internet Shakespeare
Editions platform. IML files do not indicate the copy or copytext transcribed. LEMDO
acknowledges that we are not the main source of transcription, and that we do not
know the witness transcribed in this transcription. As time permits, we will compare
this transcription to an open-access digital surrogate and align the transcription
that surrogate. If you have worked on ISE and/or may have an idea as to the source
of this file, please contact lemdopm@uvic.ca.
|
Editorial declaration | Edited by David Bevington according to the ISE Editorial Guidelines. Re-edited by Janelle Jenstad to bring in line with DRE Editorial Guidelines. |
Edition | |
Encoding description | |
Document status | IML-TEI_INP |
License/availability |