_Alice._ Ah, would he now were here that it might open! I shall no more be closed in Arden's arms, That like the snakes of black Tisiphone Sting me with their embracings: Mosbie's arms Shall compass me; and, were I made a star, I would have none other spheres but those. There is no nectar but in Mosbie's lips! Had chaste Diana kissed him, she, like me, Would grow love sick, and from her watery bower Fling down Endymion and snatch him up: Then blame not me that slay a silly man Not half so lovely as Endymion. [_Here enters_ MICHAEL.] _Michael._ Mistress, my master is coming hard by. _Alice._ Who comes with him? _Michael._ Nobody but Mosbie. _Alice._ That's well, Michael. Fetch in the tables, And when thou has done, stand before the counting-house door. _Michael._ Why so? _Alice._ Black Will is locked within to do the deed. _Michael._ What? shall he die to-night? _Alice._ Ay, Michael. _Michael._ But shall not Susan know it? _Alice._ Yes, for she'll be as secret as ourselves. _Michael._ That's brave. I'll go fetch the tables. _Alice._ But, Michael, hark to me a word or two: When my husband is come in, lock the street door; He shall be murdered or[68] the guests come in. _Arden of Feversham_ is a play which cannot be passed over unnoticed in any historical treatment of the drama. For it opened up a new and rich field to writers of tragedies by its selection of characters from the ordinary paths of life to reveal the passions of the human heart. Kyd and Marlowe had sought for subjects in the little known world of kings' courts or the still less familiar regions of immeasurable wealth and power. This other writer found what he wanted in his neighbour's house. His most direct disciples are the authors (uncertain) of _A Yorkshire Tragedy_ and _A Warning for Fair Women_, but his influence may be traced in the work of many well-known later dramatists. On the other hand the play marks a retreat from the standard set by previous tragedies. In its deliberate use of horror for horror's sake it fell away--dragging others after it--from the conception of drama as a noble instrument in the instruction and elevation of the people. [Footnote 63: fetched.] [Footnote 64: _History of English Poetry_, ii. p. 424.] [Footnote 65: whipstock.] [Footnote 66: rule.] [Footnote 67: _English Dramatic Literature_, i, p. 188.] [Footnote 68: before.] APPENDIX THE ELIZABETHAN STAGE