Early Modern Drama · Character Archetypes

ALBERTO

in Antonio and Mellida

Metadata

PlayAntonio and Mellida
Year (catalogued)1602
First performance1602
Decade1600s
GenreTragicomedy
Play typeBoys Professional;Professional
CompanyChildren of Paul's (second)
Speech prefix(es)Alb. | Al. | Alber. | Albert.
Words693
Characters3883
Typicality0.14 (cosine to cluster centroid)
TCP idA07063
BritDrama no.1218
ClusterCluster 7 — Pedants, satyrs & Latin wit

Important excerpts

Passages from this character's speech that contain the most distinguishing words for Cluster 7 (sicut, istis, quasi, crites, animal, quatuor…). Matches are highlighted.

stamp of opinio ̄ . The partly of all the world? What's that? Would, would: one, whose foppish nature might seem great, only for wise men's recreation; and, Like a Juice less bark, to preserve the sap of more strenuous spi rits. A servile hound, that loves the sent of forerun ning fashion, Like and empty hollow vault, still giving

Full speech

Oh, ho: then thus frame your exterior shape, To haughty form of elate majesty; As if you held the palsy shaking head Of reeling chance, under your Fortune's belt, In strictest vassalage: grow big in thought, As swollen with glory of successful arms. The necessity of the play forceth me to act two parts; Andrugio, the distressed Duke of Genoa, and Alberto, a Venetian gentleman, enamoured on the La die Rossaline: whose Fortune's being too weak to sus taine the port of her, he proved always disastrous in love: his worth being much underpoised by the d'un ven scale, that currants all things by the outward stamp of opinio ̄ . The partly of all the world? What's that? Would, would: one, whose foppish nature might seem great, only for wise men's recreation; and, Like a Juice less bark, to preserve the sap of more strenuous spi rits. A servile hound, that loves the sent of forerun ning fashion, Like and empty hollow vault, still giving and echo to wit: greedily champing what any other well valued judgement had before hand showed. Umh, why tolerably good, good faith sweet wag? Go, go; you flatter me. Why, what plays he? Whats all this Periphrasis? would? Oh, does he play Forobosco, the Parasite? Good i'faith. Sirrah, you must seem now as glib and straight in outward semblance, as a Ladies busk; though in wardly, as cross as a pair of Tailors legs: having a tongue as nimble as his needle, with servile patches of glavering flattery, to stitch up the bracks of unworthy lie honoured. Oh, it's native to his partly. For, acting a modern Bragadoch under the person of Matzagente, the Duke of Millaines son, it may seem to suit with good fa shion of coherence. With most obsequious, sleek-browed entertain, They all embrace it as most gracious. The prince of Milan, and young Florence heir Approach to gratulate your victory. Gallants, saw you my mistress, the Lady Ros saline? My mistress, and his mistress, and your mi stress, & the dogs mistress: precious dear heaven, that Alberto lives, to have such rivals. Slid, I have been searching every private room, Corner, and secret angle of the court: And yet, and yet, and yet she lives concealed. Good sweet Feliche, tell me how to find My bright faced mistress out. Away you heretic, yowl be burned for Nothing. on? A woman's constancy. Oh no, thart too constant to afflict my heart, Too too firm fixed in unmoved scorn. But whom to morrow? Oh deer Feliche, give me thy device. How shall I purchase love of Rossaline? Her love is such, I can not flatter her: But with my utmost vehemence of speech, I have adored her beauty's. Oh, yes, Feliche, but she scorns my writ. Alas, my Fortune's are too weak to offer them. What, good Feliche? I'll go and breath my woes unto the rocks, And spend my grief upon the deafest seas. I'll weep my passion to the senseless trees, And load most solitary air with plaints. For wods, trees, sea, or rocky Apennine, Is not so ruthless as my Rossaline. Farewell deer friend, expect no more of me, Here ends my partly, in this loves Comedy. Truth: such rank custom is grown popular; And now the vulgar fashion strides as wide, And stalks as proud, upon the weakest stilts Of the slightest Fortune's, as if Hercules, Or burly Atlas shouldered up their state. Oh, and Amazon should have such a voice, virago -Like, Not play two parts in one? away, away: 'tis come mon fashion. Nay if you cannot bear two subtle from ̄ ts under one hood, I de or go by, go by; off this world's stage. Oh times impurity! So it's resolved. For, Milan being half Spanish, half high Dutch, and half Italians, the blood of chi fist houses, is corrupt and mungrel'd: so that you shall see a fellow vainglorious, for a Spaniard; gluttonous, for a Dutchman; proud, for and Italian; and a fantastic Idiot, for all. Such a one conceit this Matzagente. What means the Lady fall upon the grou ̄ worser? Whom do you personate?

Plot summary

Plot — Antonio and Mellida
The Genoese navy is routed by the Venetians, and the defeated Duke and his son Antonio are banished; the victorious Venetian Duke Piero proclaims a price on both their heads. Meanwhile, aristocratic suitors have come to Venice to woo Mellida, Piero's daughter and Antonio's love. Shipwrecked in Venetian territory and believing his father dead, Antonio disguises himself as an Amazon. He meets Mellida and is received at court; at first he maintains his alias, pretending to have seen Antonio die, but then reveals himself to Mellida. He makes arrangements to abscond with her to England; the plot is discovered, but they escape, separately, in disguise. Andrugio too is alive, believing Antonio to have perished, and he too has been washed up in Venice. Father and fugitive son are reunited in the Venetian marsh; then Antonio meets the disguised Mellida. Piero's search party captures Mellida; she is imprisoned and will be forced to marry her suitor Galeazzo. The courtiers perform a wedding masque, during which Andrugio arrives, to claim Piero's proffered reward for bringing his own head. Piero is astounded at his courage and renounces their enmity. Antonio prompts further remorse by feigning his own death; he rises from his coffin when Piero wishes Mellida's love could bring him back to life. Galeazzo agrees to give up Mellida (he was never that fond of her anyway), and Piero gives her to Antonio, along with the promised gold.