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Dion. Because you cannot, because you cannot. bugle-maker a lawful calling? or the confect-makers? such you have there; or your French fashioner? you would have all the sin within yourselves, would you not, would you not? Busy. No, Dagon.

Dion. What then, Dagonet? is a puppet worse than these?

Is a

Busy. Yes, and my main argument against you is, that you are an abomination; for the male, among you, putteth on the apparel of the female, and the female of the male.

Dion. You lie, you lie, you lie abominably.

Cokes. Good, by my troth, he has given him the lie thrice.

Dion. It is your old stale argument against the players, but it will not hold against the puppets; for we have neither male nor female amongst us. And that thou may'st see, if thou wilt, like a malicious purblind zeal as thou art. [Takes up his garment. Edg. By my faith, there he has answer'd you, friend, a plain demonstration.

Dion. Nay, I'll prove, against e'er a Rabbin of them all, that my standing is as lawful as his; that I speak by inspiration, as well as he; that I have as little to do with learning as he; and do scorn her helps as much as he.

Busy. I am confuted, the cause hath failed me.
Dion. Then be converted, be converted.

Leath. Be converted, I pray you, and let the play go

on !

Busy. Let it go on; for I am changed, and will become a beholder with you.

From "THE MASQUES."

The hue and Cry after Cupid.

THE HUE AND CRY AFTER CUPID.

[THE worthy custom of honouring worthy marriages, with these noble solemnities, hath of late years advanced itself frequently with us; to the reputation no less of our court, than nobles; expressing besides (through the difficulties of expense and travel, with the cheerfulness of undertaking) a most real affection in the personaters, to those, for whose sake they would sustain these persons. It behoves then us, that are trusted with a part of their honour in these celebrations, to do nothing in them beneath the dignity of either. With this proposed part of judgment, I adventure to give that abroad, which in my first conception I intended honourably fit: and, though it hath labour'd since, under censure, I, that know truth to be always of one stature, and so like a rule, as who bends it the least way, must needs do an injury to the right, cannot but smile at their tyrannous ignorance, that will offer to slight me (in these things being an artificer) and give themselves a peremptory license to judge who have never touched so much as to the bark, or utter shell of any knowledge. But their daring dwell with them. They have found a place to pour out their follies; and I a seat, to sleep out the passage.]

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THE scene to this Masque was a high, steep, red cliff, advancing itself into the clouds, figuring the place, from whence (as I have been, not fabulously, informed) the honourable family of the Radcliffs first took their name, a clivo rubro, and is to be written with that orthography; as I have observed out of master Camden, in his mention of the earls of Sussex. This cliff was also a note of height, greatness, and antiquity. Before which, on the two sides, were erected two pilasters, charged with spoils and trophies of Love and his mother, consecrate to marriage: amongst which, were old and young persons figured, bound with roses, the wedding garments, rocks and spindles, hearts transfixed with arrows, others flaming, virgins' girdles, garlands, and worlds of such like all wrought round and bold: and over head two personages, Triumph and Victory, in flying postures, and twice so big as the life, in place of the arch, and holding a garland of myrtle for the key. All which, with the pillars, seemed to be of burnished gold, and embossed out of the metal. Beyond the cliff was seen

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