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Updated: May 31, 2025
Massinger's Justice Greedy we can all of us refer to a type, 'with fat capon lined' that has been and will be; and he would be comic, as Panurge is comic, but only a Rabelais could set him moving with real animation. Probably Justice Greedy would be comic to the audience of a country booth and to some of our friends.
Of all patents in our history, the most disgraceful was that which was granted to Sir Giles Mompesson, supposed to be the original of Massinger's Overreach, and to Sir Francis Michell, from whom justice Greedy is supposed to have been drawn, for the exclusive manufacturing of gold and silver lace.
Though the thought occurs in Tacitus and Simplicius, Milton seems to have adopted it, as he has done many other of his most striking passages from Massinger. It occurs also in at least one other play of Massinger's, but the passage has escaped me for the moment. Same page: 'Tis like yourself, Like Barnavelt, and in that all is spoken.
My determination to soften the character of Camiola is another indication of my imperfect comprehension of my business as an actress, which was not to reform but to represent certain personages. Massinger's "Maid of Honor" is a stern woman, not without a very positive grain of coarse hardness in her nature.
Sir John David and Sir Simonds D'Ewes belonged to the Middle Temple. Massinger's dearest friends lived in the Inner Temple, of which society George Keate, the dramatist, and Butler's staunch supporter William Longueville, were members. Milton passed the most jocund hours of his life in Gray's Inn, in which college Cleveland and the author of 'Hudibras' held the meetings of their club.
The betrothal, or handfasting, was, in Massinger's time, a ceremony that entailed very serious obligations upon the parties to it. There were two classes of spousals sponsalia de futuro and sponsalia de praesenti: a promise of marriage in the future, and an actual declaration of present marriage. This last form of betrothal was, in fact, marriage, as far as the contracting parties were concerned.
Before my mind had been made up, my good friend, Mr. Fleay, pronounced strongly in favour of Massinger. He is, I think, right; in fact, it is beyond the shadow of a doubt that Massinger wrote the speech quoted above. In all Massinger's work there is admirable ease and dignity; if his words are seldom bathed in tears or steeped in fire, yet he never writes beneath his subject.
In that theatre Marlowe's 'Jew of Malta, Massinger's 'New Way to Pay Old Debts, and other pieces of good literature, were first produced. Its players under James I. were 'the Queen's servants. In 1656 Davenant broke through the restriction upon stage-plays, and took actors and musicians to 'the Cockpit, from Aldersgate Street.
Perhaps he found his text in Tristram Shandy: 'Honours, like impressions upon coin, may give an ideal and local value to a bit of base metal, but gold and silver pass all the world over with no other recommendation than their own weight. Something like this occurs in Massinger's Duke of Florence, where it is said of princes that
As I have gone through Massinger with a view to these repetitions, I propose to notice those that occur in the present play. When I allude to a play going under the name of Beaumont and Fletcher as partly Massinger's, I am supported either by Mr. Fleay's tables, published in the Transactions of the New Shakspere Society, or to my own extension of these tables published in the Eng.
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