The Fawn: Or, Parasitaster

By John Marston

John Marston was born to John and Maria Marston née Guarsi, and baptised on October 7th, 1576 at Wardington, Oxfordshire.

Marston entered Brasenose College, Oxford in 1592 and earned his BA in 1594. By 1595, he was in London, living in the Middle Temple. His interests were in poetry and play writing, although his father's will of 1599 hopes that he would not further pursue such vanities.

His brief career in literature began with the fashionable genres of erotic epyllion and satire; erotic plays for boy actors to be performed before educated young men and members of the inns of court.

In 1598, he published ‘The Metamorphosis of Pigmalion's Image and Certaine Satyres’, a book of poetry. He also published ‘The Scourge of Villanie’, in 1598.

‘Histriomastix’ regarded as his first play was produced 1599. It’s performance kicked off an episode in literary history known as the War of the Theatres; a literary feud between Marston, Jonson and Dekker that lasted until 1602.

However, the playwrights were later reconciled; Marston wrote a prefatory poem for Jonson's ‘Sejanus’ in 1605 and dedicated ‘The Malcontent’ to him.

Beyond this episode Marston's career continued to gather both strength, assets and followers. In 1603, he became a shareholder in the Children of Blackfriars company. He wrote and produced two plays with the company. The first was ‘The Malcontent’ in 1603, his most famous play. His second was ‘The Dutch Courtesan’, a satire on lust and hypocrisy, in 1604-5.

In 1605, he worked with George Chapman and Ben Jonson on ‘Eastward Ho’, a satire of popular taste and the vain imaginings of wealth to be found in the colony of Virginia.

Marston took the theatre world by surprise when he gave up writing plays in 1609 at the age of thirty-three. He sold his shares in the company of Blackfriars. His departure from the literary scene may have been because of further offence he gave to the king. The king suspended performances at Blackfriars and had Marston imprisoned.

On 24th September 1609 he was made a deacon and them a priest on 24th December 1609. In October 1616, Marston was assigned the living of Christchurch, Hampshire.

He died (accounts vary) on either the 24th or 25th June 1634 in London and was buried in the Middle Temple Church.

• Language: English
• Publisher: Stage Door
• Release date: Mar 25, 2019
• ISBN: 9781787804890

Book preview

The Fawn by John Marston

Or, Parasitaster

As It Hath Bene Divers times presented at the blacke Friars, by the Children of the Queenes Maiesties Reuels

John Marston was born to John and Maria Marston née Guarsi, and baptised on October 7th, 1576 at Wardington, Oxfordshire.

Marston entered Brasenose College, Oxford in 1592 and earned his BA in 1594. By 1595, he was in London, living in the Middle Temple. His interests were in poetry and play writing, although his father's will of 1599 hopes that he would not further pursue such vanities.

His brief career in literature began with the fashionable genres of erotic epyllion and satire; erotic plays for boy actors to be performed before educated young men and members of the inns of court.

In 1598, he published ‘The Metamorphosis of Pigmalion's Image and Certaine Satyres’, a book of poetry. He also published ‘The Scourge of Villanie’, in 1598.

‘Histriomastix’ regarded as his first play was produced 1599. It’s performance kicked off an episode in literary history known as the War of the Theatres; a literary feud between Marston, Jonson and Dekker that lasted until 1602.

However, the playwrights were later reconciled; Marston wrote a prefatory poem for Jonson's ‘Sejanus’ in 1605 and dedicated ‘The Malcontent’ to him.

Beyond this episode Marston's career continued to gather both strength, assets and followers.  In 1603, he became a shareholder in the Children of Blackfriars company. He wrote and produced two plays with the company. The first was ‘The Malcontent’ in 1603, his most famous play. His second was ‘The Dutch Courtesan’, a satire on lust and hypocrisy, in 1604-5.

In 1605, he worked with George Chapman and Ben Jonson on ‘Eastward Ho’, a satire of popular taste and the vain imaginings of wealth to be found in the colony of Virginia.

Marston took the theatre world by surprise when he gave up writing plays in 1609 at the age of thirty-three.  He sold his shares in the company of Blackfriars. His departure from the literary scene may have been because of further offence he gave to the king. The king suspended performances at Blackfriars and had Marston imprisoned.

On 24th September 1609 he was made a deacon and them a priest on 24th December 1609. In October 1616, Marston was assigned the living of Christchurch, Hampshire.

He died (accounts vary) on either the 24th or 25th June 1634 in London and was buried in the Middle Temple Church.

Index of Contents

STORY OF THE PLAY

TO THE EQUAL READER

TO THE READER

DRAMATIS PERSONÆ

SCENE:—Urbin

THE FAWN

PROLOGUS

ACT I

SCENE I

SCENE II

ACT II

SCENE I

ACT III

SCENE I

ACT IV

SCENE I

ACT V

SCENE I

EPILOGUS

JOHN MARSTON – A SHORT BIOGRAPHY

JOHN MARSTON – A CONCISE BIBLIOGRAPHY

STORY OF THE PLAY

Hercules, the widowed Duke of Ferrara, is anxious that his son Tiberio should marry Dulcimel, daughter of Gonzago, Duke of Urbin; but, finding that he cannot persuade his son to marriage, he declares that he will himself marry Dulcimel. Tiberio is sent to the Court of Urbin to negotiate on his father’s behalf. Hercules follows in disguise to watch the issue, and attaches himself (under the name of Faunus) to Tiberio’s train at Urbin, where by adroit flattery he quickly gains the favour of Gonzago and the confidence of the courtiers. Dulcimel falls in love with Tiberio, and determines to make him her husband. She imposes on her father, Gonzago, a weak-minded lord with a boundless belief in his own wisdom, by a pretended discovery of Tiberio’s love to her; and Gonzago, acting throughout under the impression that he is foiling Tiberio, becomes in the hands of his witty daughter the instrument by which her project is accomplished. Taxed by Gonzago with having made love to Dulcimel, Tiberio warmly denies the charge, but at length he perceives that the lady is making amorous advances, and his blood is fired. In the courtyard of the palace grew a plane-tree by which it was possible to ascend to the window of Dulcimel’s bedchamber. Dulcimel informs her father that Tiberio intended to climb the plane-tree at night and enter her chamber, and that he had asked her to have a priest to be in readiness to conduct the marriage service. Gonzago upbraids Tiberio with his perfidy, and commands him to leave the court before the next morning. Tiberio asks for an explanation, and Gonzago then repeats what his daughter had said. Tiberio is not slow to avail himself of Dulcimel’s invitation; he mounts the plane-tree, the priest is ready, and the marriage is consummated. Gonzago’s chagrin is changed to satisfaction when Hercules, putting off his disguise, expresses his approval of the match.

Much of the play is devoted to an exposure of the faults and follies of Gonzago’s courtiers. At the close of the fifth act there is holden a court of Cupid, at which the delinquents are arraigned.

TO THE EQUAL READER

I have ever more endeavoured to know myself, than to be known of others; and rather to be unpartially beloved of all, than factiously to be admired of a few; yet so powerfully have I been enticed with the delights of poetry, and (I must ingeniously confess) above better desert so fortunate in the stage-pleasings, that (let my resolutions be never so fixed to call mine eyes into myself) I much fear that most lamentable death of him,

"Qui nimis notus omnibus,

Ignotus moritur sibi."—Seneca.

But since the over-vehement pursuit of these delights hath been the sickness of my youth, and now is grown to be the vice of my firmer age—since to satisfy others, I neglect myself—let it be the courtesy of my peruser rather to pity my self-hindering labours than to malice me; and let him be pleased to be my reader, and not my interpreter, since I would fain reserve that office in my own hands, it being my daily prayer:—Absit a jocorum nostrorum simplicitate malignus interpres.—Martial.

If any shall wonder why I print a comedy, whose life rests much in the actor’s voice, let such know that it cannot avoid publishing; let it therefore stand with good excuse that I have been my own setter out.

If any desire to understand the scope of my comedy, know it hath the same limits which Juvenal gives to his Satires:—

"Quicquid agunt homines, votum, timor, ira, voluptas,

Gaudia, discursus, nostri farrago libelli est."—Juvenal.

As for the factious malice and studied detractions of some few that tread in the same path with me, let all know I most easily neglect them, and (carelessly slumbering to their vicious endeavours) smile heartily at their self-hurting baseness. My bosom friend, good Epictetus, makes me easily to contemn all such men’s malice: since other men’s tongues are not within my teeth, why should I hope to govern them? For mine own interest for once, let this be printed,—that of men of my own addiction I love most, pity some, hate none; for let me truly say it, I once only loved myself, for loving them, and surely I shall ever rest so constant to my first affection, that let their ungentle combinings, discourteous whisperings, never so treacherously labour to undermine my unfenced reputation, I shall (as long as I have being) love the least of their graces, and only pity the greatest of their vices.

And now, to kill envy, know you, that affect to be the only minions of Phœbus, I am not so blushlessly ambitious as to hope to gain any the least supreme eminency among you; I affect not only the ‘Euge’ tuum et ‘Belle!’—’tis not my fashion to think no writer virtuously confident that is not swellingly impudent; nor do I labour to be held the only spirit whose poems may be thought worthy to be kept in cedar chests:—

"Heliconidasque pallidamque Pyrenen

Illis relinquo quorum imagines lambunt

Hederæ sequaces...."—Persius.

He that pursues fame shall, for me, without any rival, have breath