FESTIVALS OF Aranwhez.
The Site of Aranjuez.
ARANVVHEZ is the Recreation of the Kings and Queens of Spain, One and Twenty Miles from Madrid, the Court thereof; a Sear, which makes it credulity even to believe ones Eyes, the more seen, the more wondered at, and which in its natural simplicity, would rather have scorn'd, than admitted of Art, had not the Greatness of the Owners made it beholding to them for what was impossible, adorning it not only with a sumptuous Building (which, not exceeding the proportion of a Villa, or Countrey-House, deserves [Page 2] the Name of a Pallace-Royal) but also with transcendent Culture, in which there is a constant variety; what in the Luxuriancy of its Gardens, what in the Gallantry of its Meadows, which, for Flowers, Birds, and Plants, leave nothing to be admired in the strangeness of the most remote Provinces; (that being there common, which is singular in every of them;) and what in the excellency of its Groves, which, peopl'd with all manner of Game, and Beauty, excuse no Royal Entertainment.
The Fields of Aranjuez.
THe least of its Beauty is under the Charge of two the most celebrated Rivers of Castile; Xarama, which dilated through the Fields hereof, begins their Fertility, and with a gentle Plain, Crown'd with Corn and Fruits, draws the first respect to the Majesty of its Master, defended by that respect, better than by the watching of so numerous Guards; (for, in so vast Limits, in vain would be the Care of many, if they were not kept by the veneration of All;) the Courage of the Bulls thereof giving the second estimation to the Borders of this River, which (civil to Tagus) retires it self, leaving to him the upper and nearer place, and afterwards Duty more than Custom carries it to joyn with him, making him greater, not more beautiful.
The Garden of the Isle.
THis Seat (which will always seem an Hyperbole to the Ear, and a Deception to the Eye, being only used the two best Moneths (serving the other ten, only for a complaint to as many as behold it, that it should lye fallow the rest of the year) contains amongst many other Miracles of amoenity a Garden, which Tagus embraces with [Page 3] two Currents, sometimes in suspence, some times hasty, shaping it an Isle, and serving it for a Wall, over which the Trees are one way delightful Battlements, another, they are flow'ry Margents. Amidst the intricacy of the matted Hearbs, of the Galleries of Flowers, of the Meandrian Wildernesses, of the diversified Plats, of the Crystal Fountains (Competitors in Plenty and Novelty) there is reserv'd a most beautiful Space, which hath the openness of a Market-place, and wants not the pleasantness of a Forrest. This the Queen made choice of to Celebrate therein (with the greatest Magnificence that any Age hath seen, boast what it will the Roman Ostentation) the happy Birth-day of Our Soveraign Lord the King, the Seventeenth Year of his flourishing Age, and the Second of his most blessed Reign.
One of the greatest things of which is composed the Majesty of the Kings of Spain is, the Splendour of their Court, in which they do more surpass the other Princes of the World, than even in having under their Command so many Kingdoms; and the chief Point of this Splendour consists in that of their Maids of Honour, who, being Daughters of great Lords and Gentlemen, the veneration of all Men gives them new Authority, by themselves preserved in such manner, that they find respect and applause wherever they appear: For there needs nothing else to make it a Festival Show at any time, than that they will permit themselves to be look'd upon. And now on this Occasion to Solemnize the Kings Birth-day, and Wait upon the Queen, they excell'd themselves in bravery, both of Cloaths and Carriage.
These Representations, which refuse the vulgar Name of Comedies, and aspire to that of Opere, to describe how they were performed by the Court (the Eclipse, rather than Imitator, of the Ancient Stage, upon which Italy values it self at this day) would require a better Pen than mine: But to stay to seek one could worthily Write it, were to Damme it to perpetual [Page 4] Silence; since the most exact and elegant must claim a part in my diffidence: Anothers Command (not my Presumption) embarks me in this Narrative, though not witty, yet true; and now I write it with jealousie that I shall wrong the Story: But nothing can set it forth like a punctual telling it.
Many Circumstances-make me suspitious of my self, and two amount to fear; the poverty of words to describe the brave Cloaths, which are distinguishable only by their Colours, and here all being reduc'd to Gold and Silver, that falls out to be rich, which a Revalation would have various ***
THe Court was divided into two Squadrons, to make the Festivals distinct; of the first the Queen was Captain, who with her Greatness render'd it worthy of her Self; and of the second was Captain the Lady Leonora Pimentel, a Dame of a transcendent Wit, and who with that alone might promise her self equality, if it had been possible.
The Fabrick of the Scenes.
TO Erect the Scenes for the Opera of Her Majesty came to Aranjuez Captain Iulius Caesar Fontana, chief Engineer and Superintendent of the Fortifications of the Kingdom of Naples, Son to that so celebrated Artichitect of the Fabricks of Sextus Quintus, and Artificer comparable with his Father. There was raised a Theatre of 150 Foot long, and 78 in breadth, and seven Arches on each side with Pilasters, Cornishes and Battlements, of Dorick Work, and on the top of those certain Galleries with Balasters of Gold, Silver, and Blew, which compass'd the whole, and the same susteined [Page 5] seventy Massie Candlesticks holding white Wax Torches and Tapers innumerable, with certain Pillars imboss'd at the Corners of them ten Foot high, upon which was fastened a Canopy in imitation of a clear Night, when a multitude of Stars break out of a gloomy shadow, and upon the Stage, two Figures of a large proportion, which served for imaginary Gyants; and to correspond with the Frontispiece, and by the Cornishes of the open Galleries, many Statues of Brass, and pendant from the Arches, certain Globes of Crystal, which made great Lights; and round about Benches for Gentlemen, with a most beautiful Rail to keep out the Common-people. In the midst a Throne, upon which were the Chairs of the King, and of the Princes Don Carlos, and Don Fernando, his Brothers: Below them again Foot-paces, on which Carpets with Cushions, for the Ladies and Damsels. There was form'd a Mountain of fifty foot broad, and eighty in circumference, which was made to split it self into two, and, though it was so vast in bulk, yet one Man moved it with much ease. It cover'd the Scene, and was of the same Dorick Work, and it had an Ascent by many Steps to a spatious Cave, peopled with many wild Beasts. What this Mountain hid shall be revealed, when we speak of the Scenes, as they served in their proper places of the Mask.
The Subject was the Glory of Niquea, notorious in the Books of Amadis; it was written for the height of the Court, as knowing the little liberty which that affords to the Muses, and the great Caution wherewith these Virgins of Parnassus must there demean themselves, the want of which knowledge occasions many absurdities to those Poets (how eminent soever in other respects) who have been bred far from the severity of that School.
The Festival was appointed for St. Philips Day, but the embroylment of so much Fabrick deferr'd it till Whit-Monday, by which time all was in perfection. At the shutting in of day [Page 6] Tapers were lighted, equivocating Night. All took their places, who had leave to see, which was granted sparingly. For as to have indulged a general Liberty, would have caused great confusion, by the People that would have flocked from Madrid, so the Court-Attendance alone, of their Majesties, and their Highnesses, was enough, not to want Spectators if that had been the thing;) yet those who came unlicensed were not excluded, least so justifiable an Ambition should be condemn'd, as to desire to see Festivals prepared by so great a Queen, in Honour of a King so Glorious, and moreover their own. He being now out of Mourning for his Great Father, which he observed so religiously, that till the Year was over, even, the last Day, the first of his sorrow. The Ladies and Damsels, then present at Aranjuez, fill'd both the Strado's, the one the Countess of Olivarez, and the Lady Frances Clanit, Wife of Don Balthazar de Zumiga, the Marchioness of Castel Rodrigo, and the Lady Margarita de Melo her Daughter, and the Countess of Barajas; the other, the Lady Iane of Arragon, and the Lady Leonora Pimentel, Donna Anna Bazan, Donna Maria Lande (chief Mother of the Maids) the Lady Margarita de Tabara, and the Countess of Castro Duennas, i. e. Widows of Honour.
The beginning of the Festival.
A Noise of Trumpets and Sackbuts gave the Sign, when the King and his Brothers came forth to take their Seats, and presently entered upon the Stage many Violins, and with them the Court Dancing-Master, and (the Minstrels giving scope to their Instruments) two doors flew open, and there began a Gallant Mascarade.
The Mascarade.
THe first Couple that sallied, Dancing, was the Ladies Sophia and Luysa Benavides, in Hungartins of Cloth of Silver, clingcant with Azure, the Seams laid thick with Passemans of Silver, and two pair of Wings and Kirtles of the same stuff, the same Passemans covering all the ground, Sleeves of Cloth of Silver cut upon Azure, Cloth of Silver Mantles hanging on their Shoulders by three Roses of Diamonds, many Jewels and Flowers in their Head-Dresses, Pyramided in a Mountain of Plumes of both Colours, black Masks, and white Torches.
The Lady Maria Coutixio, and the Lady Catherine Velasco, in the same Habit, save that the Cloth of Silver was distinguish'd with Orange; and in like manner the rest of the Squadrons, only differenced by the Colours.
The Lady Anne Sande, and the Lady Margarit Zapata, Cloth of Silver Green.
The Lady Leonora Gusman, and the Lady Anna Maria de Guevara, Cloth of Silver Carnation.
The Lady Maria de Tabora, and the Lady Constanza de Rybeyra, Cloth of Silver White.
The Lady Luysa Carilio, and the Lady Anna Maria de Acunia, Cloth of Silver Black and White.
There Enterings were most sprightly, the Knots of the Mascarade with graceful Novelty: They Danced it to the admiration of all, and howbeit these Ladies were of different Squadrons, they agreed in giving a most Illustrious Beginning to the Festival. They ended the Mascarade, and in the same Habits, accompanied by the Major-Domo's and Mothers of the Maids, or Duenia's, sate themselves down upon their respective Strado's.
The Chariot of the River Tagus.
A Second time the Musick of the Minstrils gave notice of another Novelty, and through a wide Arch entered a Crystal Chariot, Crown'd with Lights and variety of Boughs, and therein many Naiades, and Napean Nymphs, Clad after the manner of the Countrey, and (seated in a Throne) the River Tagus, represented by the Lady Margarita de Tavora, Menina to the Queen, and her Habit was this, a Cassack of Blew Tynsel, and a Mantle of the same water'd, and Silver Ribbons, also embroyder'd over with Silver Snakes, the Sleeves of Blew Sattin slash'd, and drawn through with Cloth of Silver, a bunch of Plumes White and Blew, and the Mantle sliding from the Shoulders, but held by three Roses of Diamonds, and a Garland of Flowers upon her Head; she descended from the Chariot, and mounted the Stage, attended by the Nymphs, and, in the name of the circumjacent Fields, welcomes the King, rendring His Majesty many humble Thanks for glorifying them with His Presence.
The Chariot of April.
THe Musick return'd, through another opposite Arch entered in a Chariot the Month of April, usher'd by the Sign Taurus, with all those Flowers that make him the the Spring of the Year, and with as much Light as might make him the Years Morning; and from the top (representing him, and that to the advantage) the Lady Franscisca de Tabara (Menina to the Infanta) with a Cassack and Mantle of rich Cloth of Silver Carnation, sew'd with Roses, wrought by hand, of several Colours, and Sleeves quilted with Roses, and a Veil of Silver, a Head-dress of Roses, a Sphere of Plumes, Crown'd with Flowers, and the Mantle held upon the Shoulders [Page 9] by three Roses of Diamonds: He drave his Chariot into the Theatre it self, and there (having first saluted the River) with modest assurance repeated certain Stanza's of much Wit and sharpness, and pronounced with more, giving a new Soul to the Verses (now the second time excellent) and, without danger of Flattery, due Praises to the King and his Brothers, April and Tagus accompanied with their Nymphs retired themselves.
The Flight of the Eagle.
TIme pass'd over the Stage upon an Eagle of Gold, represented by the Lady Antonia de Acunia, who by way of Prophecy, in Elegant Verses, reminded His Majesty of the Glorious Deeds of His Ancestors, and warm'd his forward Courage with so great Examples and desires to imitate them, animating him to follow their generous steps, already well advanced in by his Illustrious Beginnings. Propos'd to him, that since Africk, Europe, and America, respected his Banners, he would make Asia fear them, disused for so many Ages past to Christian Arms, which now began to receive at the Sound of his Name. Thank'd him for his early Valour, and the great Anticipation upon his Age, having already Reign'd in One Year many Centuries, served by two Ministers of State, so zealous of his Glory, and of the Splendour of his Actions, of whose Virtues and Profoundness the most ample Relation might savour something of Affection and Love, but nothing either of Flattery or Errour. The accurateness of the Stanza's could not complain of being discompos'd one jot in the Acting, nor did the few Years of the Lady Antonia apprehend the least scruple in the World to represent Time. The Eagle ascended above the whole Fabrick of the Theatre with an Artifice so well dissembled, that the Flight was seen all the while, but not how it was done. She vanish'd; at the instant, on the top of all the Fabrick, the Trunks of three Trees open'd, and three Nymphs appeared Singing: They were the Lady Mary of Arragon [Page 10] (Maid of Honour to the Queen) and the Lady Mariana de Hos, and the Lady Isabella Salazar, of Her Majesties Chamber. The Artifice of the Scene, and the Greatness of Voices, might have served for Ornament and Credit to another Royal Festival. They ended the Ditty to the notable admiration of All, the Trees did shut themselves, and the Lady Mary Gusman, Daughter of the Conde of Olivares, entered through a Wood, her Habit a Mantle of Damask of Gold Green, trim'd with Gold and Silver, and little Pease-Cods with Pearl in them, a Velvet Hungarlin of the same colour laced long ways with Passemans of Gold Embroidery, a Green Montera with a Green Feather cast over full of Diamonds and Pearl, and a Bow and Quiver embroider'd with Gold and Silver hanging at her left shoulder. She spake the Prologue, vulgarly call'd the Loa (i. e. the Praise;) which she Acted to the Spectators, and they all gave it to her, such was the life, assurance, and grace, wherewith she pronounc'd it: She propos'd the Argument, begg'd no Pardon according to the vulgar custom, Attention she did, and with great reason they gave it her. The Harmony of all the Musick, and the Voice of the whole Auditory thank'd her with one consent, upon the strength of which Plaudit, the Comedy did (as well it might) venter boldly in: The Series whereof was in this manner.
The Comedy.
IN the first Scene entered Darinel, Squire to Amadis, who notified to Dantes (a Shepherd of Tagus) the Occasion that obliged his Master to tread those Fields: He recounted to him his famous Actions, his Adventures, and that *** which was ministred unto him by the Inchantment of Niquea, oppress'd by the Arts of Anastarax, the hated Lover of her Beauty, for whom the Magitian Alquile (her Uncle) reserved her. The Squire reciprocally informed himself from the Shepherd touching the Borders of that River, whom the Swain courteously [Page 11] answer'd, and paid his Narration with another of the Preparations there made upon so great an Occasion, as to celebrate the Birth-day of their King. The Squire was represented by the Lady Guevara of the Queens Chamber, in a brave Suit of Cloaths, a Sword girded to her, a Hat with a tossing Feather, and Roses of Diamonds; the Shepherd, by the Lady Bernarda de Bilbao of the Chamber of the Infanta, in an Hungarlin, and Smock-coat Green and Silver, Budget of Cloth of the same; the Action and Bravery of them both not yielding to the proudest Competitors: A Quire of Sirens were heard to Sing. Tagus listens from his Sphere of Crystal, who despising to be a River hath the Ambition of a Sea.
Amadis Enters.
A Trumpet Sounded, and following the Ecchoes thereof, they entered among the matted Trees: Presently came out, as amused at the Noise of the same, that Knight of the Burning Sword. He was represented by the Lady Isabella of Arragon, joyning the Mettle of Amadis to the Beauty of Niquea: Her Habit, Braces of Cloth of Silver Carnation and Black, with Embroideries of the same, a Souldiers Cassack with the same trimming, Armour of burnish'd Silver neatly Filed, the Clasps and Studs thereof of Gold, and the Murrion Crown'd with a Mountain of Plumes, a Mantle of Cloth of Silver hanging at the Shoulders, and a Sword girded to her; a Dwarf attended her, who carried the Inchanted Shield (which was Don Michael Sopilio) who succeeded Bonami in the reputation of Littleness, and he was sheath'd in an old fashion Suit, Black and Silver.
Amadis found upon the Trees various Inscriptions, which put him into a confusion, and (assaulted by Sleep) demanded quarter of the fatigue of the way; but (his Spirit complaining of the faint resistance made by his Flesh) whilst he was yet awake he was scandaliz'd to imagin himself asleep, and quite [Page 12] overcome at last (as he that is never so much a Lover remains a Man for all that, and cannot put off Mortality) did stay himself at a Rock; then came forth Night, represented by a Portugal Black-moor Maid, and a most excellent Singer, Maid to the Queen, Clad in a whole Kirtle of Black Taffaty, powder'd with Stars of Silver, and a Mantle falling from her Shoulders, thick wrought with the same Stars—
* * * *
In a resplendent Cloud descended Aurora, represented by the Lady Mary of Arragon, Clad in a Hungarlin, and Smock-coat, of Gold Cloth lin'd with Carnation, and thick embroidered with Pearls, and a Mantle of Cloth of Silver powder'd with the same, who, admirably Singing, accused in Amadis the humanity of Sleep, and that in him alone were join'd amorous Thoughts and drowsie Eyes; she remembred him how he had both his Glory, and his danger near, and how this sleeping discredited as well his Love as his Soldiership. Night persever'd to suspend him in his Lethargy, the Morning pleaded hard to bring him to himself. Night confess'd her self vanquish'd, and fled; the Morning was victorious, and Amadis awoke; she in the same Cloud, and with the same Musick, returning to Heaven. Amadis departed in Quest of the Inchanted Wood, and at his coming to the Rock, heard variety of voices, which in the high Galleries of the Theatre divided themselves into four Quires each opposite to other, which were formed by the Kings Chappel, with divers Instruments, some Guitars, some Flutes and Sackbuts, others Theorbo's, others Viols and Lutes. One Quire sung, and set before him Dangers, another infused into him Resolution; now this disanimated him, now encouraged him that; and the wavering Knight listen'd sometimes to the horrours of the Inchantment, sometimes to his own Valour: In the end, after a Battail of Doubts, he prov'd the Conquerour of them, represented by the Lady Isabella, so understandingly affected with her part, that she even thought her self the Person she Acted, and whipping out her Blade withal, clasping her self close to [Page 13] the Shield, invaded the Rock with so generous a smartness, that it was all, which it was possible for a Lady to do without discomposing her self. The Rock opened, and there appeared a Pallace of a beautiful Structure, and in the Portal thereof four Pillars of Thirty Foot high, which at the instant that Amadis knock'd at the Gates sank down to the Centre so swiftly, that the Eye could not overtake them. Four Gyants shew'd themselves Arm'd with Breast-plates and Murrions, who grew into Choler at the rashness of the Knight, and with threat'ning only presumed to carry the Victory. But Amadis, who had not the Name given his Sword for nothing, with the first flourishing thereof, and shewing them the Shield into the bargain, put them all four to Coward-flight (for so the Books of Knighthood will have it:) Represented these were by Donna Leonora de Quiros, Donna Luysa Ortiz, Donna Catalina de Z [...]rate, and Donna Ynes de Zamora, without observing the property of Gyants in being ugly and troublesome, for all thought them handsom and very good Company. Many Nymphs came-out with Flowers to put upon his Head, and with treacherous fawnings sought to get him out of the Castle. He knowing their falshood, shew'd them the Shield, at which they fled, Lyons rising in their places, into which they transform'd themselves with such natural fierceness, that true ones could not have struck more terrour, and (seeing the Shield) these likewise vanish'd: He ascended by the Stairs until he was stopt by this Inscription:
Having read it, he pass'd already victorious over the Theatre and place of Arms, came to the Gates, which in the instant [Page 14] flew open, and (all the variety of Musick joyning at once) presented it self the fair Scene of the Glory of Niquea, who was cypher'd in a most beautiful Sphere of Crystal and Gold, so that the Roofs and Walls thereof seemed rather one, than many Diamonds, verifying the Palace of the Sun which Ovid feigns; and in perspective a high Throne, wherein was placed the Queen, who sate for the Goddess of Beauty, of whom Amadis begg'd leave to disinchant Niquea, represented by the Infanta, seated upon the utmost Stair, and upon the other that were lower (accompanying Her Majesty and Her Highness) the Lady Anna Maria Manrique, the Lady Maria de Cardenas, the Lady Antonia de Acunia, the Lady Margarita de Tabara, the Lady Iuana Boria, the Lady Isabella de Velasco, Donna Isabella de Salazar, Donna Iuana Pacheco, Donna Maria de Hos, and other Servants of the Chamber, who represented Nymphs, and at the Foot of the Throne was on his Knees Anastarax, Acted by the Lady Antonia de Mendoza. And the Habits are these.
The Habits.
THat of the Queen a short Petticoat and Kirtle of massie Tissue with Plate-Lace, three pair of large Skirts, and the formost down to the Hem of her Coat with Scallops, Scrolls written with Diamonds, and set on upon a perfum'd Jupe, French Sleeves slash'd, and held together again with Buttons and Loops of Diamonds, a Head-dress of Silver Purl and Gold-smiths Work with variety of Plumes a Mantle of of rich Cloth of Silver plain, with three Constellations of Diamonds which insured it to the Shoulder, falling gracefully over the back, and at her Neck the Kings great Diamond, with the incomparable Pearl.
That of the Infanta, a Petticoat of massie Cloth of Silver Carnation with Scallops, trim'd with Silver Passemans and Black Silk, with a Sleeve of Needle-Work, the Mantle of the same [Page 15] Stuff, and to it three Booches of Diamonds, a Diamond Chain athwart, and her Head-dress of Gold-smiths Work and Roses.
That of the Lady Anna Maria Manrique, a Petticoat of Orange Colour Sattin embroidered, with clingcant and flat Pease of Silver both upon the Field and Trimming, a Hungarlin of Orange Colour Taffaty open'd upon Cloth of Silver drawn through the Cuts, with four pair of Scallops Orange Colour and White, all sprinkled with Flowers wrought with the Hand, round Sleeves of Cloth of Silver smooth, with the same Handy-work Flowers, a Mantle of massie Cloth of Silver, sew'd with Flowers, and hanging by Roses of Diamonds, the Head-Dress of Diamonds and Pearls, with a Bunch of White Plumes.
That of the Lady Maria de Cardenas, a Petticoat and Hungarlin of a rich Gold Tabby Orange Colour imboss'd with Silver, a Cloth of Silver Mantle, with three Roses of Diamonds, Plumes Carnation and White.
That of the Lady Antonia de Acunia, a Silver Petticoat Carnation, garnish'd with Silver, and an Hungarlin of Black Velvel Lac'd long ways with Silver Passemans, a Mantle of Cloth of Silver with Roses of Diamonds, and Plumes Carnation and White.
That of the Lady Margarita de Tavara, a Petticoat and Hungarlin of Cloth of Silver Carnation, a Mantle of Cloth of Silver White held by three Roses of Diamonds, Plume Carnation and White.
That of the Lady Iuana Boria, Petticoat and Hungarlin of Cloth of Silver Orange Colour, with Gathers Trimm'd with Silver, Cloth of Silver Mantle with Roses of Diamonds, Plume Orange and White.
That of the Lady Isabella de Velasco, Petticoat of Cloth of Silver Carnation, Hungarlin of Black Velvet, with Silver Passemans, Mantle of Cloth of Silver, with Roses of Diamonds.
[Page 16]That of the Lady Antonia de Mendoza, Cloth of Silver Petticoat Carnation, Black Velvet Hungarlin Laced long ways with Silver Passemans, the Mode Moorish ▪ a Turbant of Tynsel upon a Bonnet of Black Velvet sewn with Roses of Diamonds and other Jewels. Plume Carnation White and Black, a Silver Embroider'd Belt, thereat hanging a Fauchion, an African Cassack, called by those People, an Albornoz.
The Fable proceeds.
AT the approach of Amadis to the place where the Inchantment appear'd dissolv'd, Anastarax stood upon his Guard, and with deep fetch'd Groans complain'd of the violence of Fate, and of Heaven, that had given to Morral Man so great Valour as to that Adventure. Amadis condemn'd him to the torments of his own Jealousie, and took Niquea out of the Inchanted Castle. But forasmuch as the Persons here representing, did exceed the greatness of the represented; therefore the Verses in the Sequel did not observe the promise of the History, but the respect due to the Actors. And so when Amadis with all courteous and lowly submissions imaginable, endevoured to make Niquea more sensible of his Love than of his Prowess, she (above all those kind of Batteries) would not allow him in reward of his Affection, so much as to dare to place it upon her, heightening his diffidences to so great despair, that she left them no safety but in silence: And the Nymphs seeing the refined Love of Amadis, told him, the Queen of Beauty received him into her protection; and he (more proud to be a true Lover, than to be a successful one) thank'd Niqu [...]a for her scorn, and the Goddess for her pity. These Verses were Penn'd with such accurate Respect, that they deserv'd to be pronounced by Her Highness.
The Second SCENE.
A Nymph appearing came forth singing a Sonnet, in which she presented the Festival to the King; when presently the Squire and the Shepherd, struck with admiration of what they had seen, hear the rattling of Chains, and grievous Lamentation with which Anastarax did bemoan himself from the Hell of Love; and (imagining it was some new Inchantment) had not the courage either to advance, or stay where they were. Putting aside the Boughs with their hands, forth came the Lady Mary of Arragon, and the Lady Frances Tabara, in different Habits from the former, that of the Lady Mary (who Acted Albida) Petticoat and Hungarlin of Cloth of Silver Grass Green, laid thick with Silver Passemans, Cloth of Silver Mantle with Roses of Diamonds, Plume White and Green: That of the Lady Frances (who Acted Lurcano) Petticoat of Cloth of Silver Primrose Colour, with Embroidery of Silver and Gold both on the Field and Border, and a Hungarlin of Black Velvet uncut, Laced long-ways with Silver Passemans, a Sword and sprightful Hat, the Brim turn'd up to the Crown, with a Black Plume fasten'd on with a Brooche of Diamonds.
I advertised before, that this which the People would think strange for a Comedy, and in Court is called an Invention or Opera, is not measur'd by the common Rules of a Play (which is a Fable all of one piece) is made up of incoherent variety; of which the Sight got a better share than the Hearing, and where the Comedy (if it may be call'd so) was such to the Eye more than to the Ear. Lurcano painted forth (in rich, and no vulgar Verses) the Pleasures and Content of a Countrey Life in general, and Albida described her Gardens as in the beautiful [Page 18] Season of May, then her Lover Lurcano imparted to her his amorous Passion mask'd in cautiousness and fears, and Albida, not to favour him by doubting it, nor oblige her self by believing it, answer'd him according to the little heed she gave unto other folks torments, living without any of her own: In this Dialogue (no less than in that of Amadis and Niquea) the Author shew'd the Decorum with which Verses should be written for Ladies; those which they hear, discreet; those which they speak, severe: Where, whatsoever is not despair, is presumption; all should be Veneration, and nothing Love. It was superexcellent, and (if it were possible) the Acting of it exceeded the Penning.
Anastarax return'd to his Complaints, Cursing the Knight of the Burning Sword with so hearty a good will, with so melting a voice, with so doleful groans, that he adorned his pain, and the Lady Antonia Mendoza her Part, so much, that nothing was ever so applauded, or more worthy to be so. Albida demanded of Darinel the cause of those Lamentations, but he was as ignorant thereof as her self. In the mean time the howling went on, and the compassionate Albida had a longing desire to set Anastarax at liberty. She heard a voice, which (singing) animated her pity, she read an Inscription, and that incited it likewise; she followed the Ecchoes of the Complaints, and advising Lurcano, as a Friend, to Cure himself with loving some other Beauty (taking him it should seem for a Man) she had the daring to undertake that which appeared so difficult; Lurcano endevoured to stay her, and, not being able, follow'd her to get first to the danger: And making hast to outstrip her, a flying Dragon opposeth his passage, who carryed between his Wings Florisbella (represented by the Lady Anxa Manrique) with whom he, admiring her Beauty, and to verifie the Prognostication of Albida, falls presently in Love, endevouring to arrest her Perfections by the force of Sighs and Prayers; he made Love to her most in feeling language, the Dragon flew away, and the disdainful Nymph would not leave him so much as a presumption that she had heard his Addresses: Lurcano remain'd [Page 19] in amorous Doubts, sometimes he thought himself asleep, sometimes inchanted; he found in her more Marks of a Goddess, than of a Nymph; he thought his Love much, for so short a view; little, for so beautiful an Object; The Pen of the Author left me no gallant thing unsaid in these Verses; and the Lady Franscisca pronouncing them, added of her own a Spirit, the perfection of Poetry, this being one of the most admired Strains in the whole Festival.
A Quire of Musick bid him not despair, for that he should sometime, and that soon, behold her again. He demanded Aid of Love in so doubtful an occasion, and in so soveraign a devotement, when on the top of the Theatre, a Balcone open'd it self, in which at the Sounds of many Instruments appeared the Nymph Arethusa, represented by the Lady Mary Gusman (this second Habit much surpassing the former) Clad in a Carnation Petticoat, laid thick with flat Pease, and Embroideries of Pearl and Silver, and a deep Kirtle after the Mode of France, with Gathers of Cloth of Silver Carnation, wrought with little Snails or Periwincles of Silver, as it were creeping up from the bottom to the top, and half Sleeves of Needlework lin'd with Cloth of Silver White, and Ermins, a flying Mantle Carnation and Silver, with Roses of Diamonds, and a Bunch of Plumes Carnation and White, a Bough of Laurel and Mirtle she carried in her hand, saying, that she came sent from the Goddess Venus to disperse the Cloud which involved so great Lovers, she bade Lurcano be of good Courage, since Anastarax himself was now coming out of the Hell of Love: This Scene was accompanied with great Harmony, and from the midst of the flames (which were made with various splendour, not causing horrour but delight) came forth Anastarax, handed by Albida, whom Arethusa thank'd for her valour, and Anastarax for his deliverance: Then (the different Quires of Musick joyning) forth came the Goddess of Beauty with Niquea, Amadis, and all the Nymphs, and Anastarax begg'd pardon of Niquea for his presumptuous Love, and she pardon'd him. The Goddess of Beauty gave to Amadis the name [Page 20] of the most refined Servant, and valiant Knight, in the whole World, loving without design, conquering without reward; and Amadis with that, of being acknowledged so perfect a Lover, rested fully satisfied. Florisbella came forth, to whom Lurcaro fell down upon his Knees, and begg'd, in recompense of all his Love, she would not look upon it as an injury, being the most courteous affront that could be offer'd to Beauty. Arethusa celebrated the great Mercy extended by one Sex, the great Love made good by the other; she gave to Niquea the joy of her disinchantment, and to the Goddess, the Glory of the Festival. She commanded that with Musick and Dances should be celebrated the Liberty of the Princess, of the Beauty of the Goddess, and so with a great Harmony of all the Instruments at once, they went out, concluding the Representation, in which (being the last) the Lady Mary Gusman carried the first Praise.
All of a sudden the Mountain cover'd the whole Face of the Theatre, and presently that Bulk open'd it self at the sounding of the Instruments, when with unexpected novelty, that which was a Mountain and a Building, we saw turn'd into most beautiful Gardens of Flowers, and natural Fountains, so ingeniously, and with so great quickness metamorphosed, that though the Artifice was much, the brevity was the thing admired: And for a decision of a Wager between the Queen and the Lady Leonor Pimentel (observing an ancient Pastime in the Spanish Court, which is called Divination, at which they stake a Jewel for victory, not for avarice) there appeared on the highest part of the Throne Her Majesty and the Infawa, the Ladies and Menina's seated upon the Steps thereof making a glorious show, and each of them having tyed about her right Arm a Scarlet Ribbon, all of one length and breadth, and fastened in such manner that made no distinction; the Preceipt, that shuffling all these together, the Lady Leonor (to overcome) must light upon that which had hung upon the Arm of the Queen.
The Lady Leonor approached, and lost only the possibility of gaining, for (to be an absolute loser) the Law was, the Queen, [Page 21] when her turn came, should light upon the Ribbon that was fastened to Leonors Arm. The Action was accompanied by all the Instruments and Singers: For, as Spain is the most proper Element of the most excellent Voyces in the World; so the Centre of them is the Kings Chappel; to whose Master, Musick is beholden, for uniting dexterity in the Tunes, with an excellent Ayr in Singing, making the Majesty of the Theorbo comply with the sweetness of the Lute; and to the eminency of whose Art she owes the Novelty of Palomares, the Delicacy of Iohn Blas, the Spirit of Alvaro, and all made use of upon this occasion.
The Queen, the Infanta the Lady Anna Maria Ma [...]ique, the Ladies Isabella of Arragon, Antonia de Mendoza, and Diana Franscisca de Tabara, Dancing the Turdion with Swords and Hats, gave an End to the Festival. Wit, Motion, and Bravery, were drawn dry and wearied in the Service, nay the Graces themselves had not any delight, which by this time was not afforded to the Spectators; nor any thanks, which they return'd not to the Actors. If the Expectation had been infinite, the Performance was more. The admirations and praises paid but a small part of the sight, for (to go about to measure it that way) Hyperboles themselves would have made a luke-warm Narration, and of such none were wanting, and the greatest was none.
The flourishing years of the King (which may they multiply to as many as his Virtues deserve, and as Spain prays for, and hath need of) could by no less demonstrations of joy be sufficiently solemnized, nor at any time with greater reason have disengag'd the pleasing thirst of seeing more.
The Splendour of the Court had been always admirable, but was never seen greater than now; having in the first place the Queen (whom God preserve) of few Years, of much Beauty, accompanied with all those excellent Endowments which form a Royal Perfection; then the Infanta, of equal Majesty and Beauty; also the Ladies, who in Bravery, Beauty, and Greatness, were inferiour unto those two only; for they were a Pool [Page 22] of all the Illustrious Blood in the Kingdom, and being (wheresoever they are) the Load-stone of all Eyes: Imagin them seen upon the Theatre, on the most Tryumphant day of the World, every of them vying with other, and making a modest ostentation of her Bravery, her Meen, and her Beauty. No one can be particularly commended without an injury to all: She seem'd the most glorious drest, upon whom the Eye happen'd to be; she the best Actor, who was then Speaking.
The Queen, Foundress and Glory of the Festival, so twice Hers, and justly, for neither from Her could it be expected less, nor did it deserve a less Mistress, by her presence did free it from the fear of competition, and from the hope of being more; who, because, only by Her being of the Company, She gave the Scene so much Lustre, without pronouncing one Verse: In these following was written in Figures, that which many had not been sufficient to comprehend in words at length.