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 THE War of 'Ui: ^HEMRES 
 
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Publications of the University of Pennsylvan 
 series in 
 
 PhMog)' Literature and Archjeology 
 
 Vol. IV No. 3 
 
 THE WAR OF THE THEATRES 
 
 i 
 
 JOSIAH H. PENNIMAN 
 
 ASSI.STANT PROFESSOR OF ENGLISH LITEKATURE ,N THE 
 UNIVERSITY OF PENNSYLVANIA 
 If 
 
 1897 
 
 GINN & COMPANY MAX NIEMEYER 
 
 ••■"•. "alle, a. S.. Germany. 
 
 'tlonograph 
 

 The Papers of this Series, prepared by Professors and others connected 
 with the University of Pennsylvania, will take the form of Monographs on the 
 subjects of Philology, Literature, and Archaeology, whereof about 200 or 250 pages 
 will form a volume. Each Monograph, however, is complete in itself. 
 
 The price to subscribers to the Series will be $2.00 per volume; to others 
 than subscribers the numbers will be sold separately at the regular prices. 
 
 It is the intention of the University to issue these Monographs from time 
 to time as they shall be prepared. 
 
 Each author assumes the responsibility of his own contribution. 
 
 
 V^ 
 
PREFACE 
 
 >J*io 
 
 This monograph contains some results of the study of a 
 group of Elizabethan plays, closely related to each other, 
 because all connected with the quarrel of Jonson and Marston, 
 an incident in the history of the drama to which has been 
 given the name "The War of the Theatres." Single plays 
 and the plays of individual authors have long occupied the 
 attention of critics and editors, but the intimate relationship 
 of groups of plays, as a feature of what we may term the 
 organic unity of the Elizabethan drama, has received from 
 students less attention than it deserves. 
 
 The purpose of the present treatment is to set forth some 
 conclusions concerning the plays, a-nd the facts upon which 
 the conclusions are based. A number of erroneous views 
 that have been held by critics are referred to incidentally, 
 but it has been no part of the plan to discuss all of the numer- 
 ous mistakes that have been made in attempts to identify 
 characters. 
 
 I take pleasure in acknowledging here the courteous 
 interest in this work which has been shown by Mr. F. G. 
 Fleay of London, and also the kindness of my colleague 
 Dr. Child, who made the index ; but especially do I wish to 
 record my grateful appreciation of the valuable suggestions 
 and generous aid of my friend and teacher Professor 
 Schelling. 
 
 ^ JOSIAH H. PENNIMAN. 
 
 University of Pennsylvania, 
 May 24, 1897. 
 
THE WAR OF THE THEATRES. 
 
 a?»<o 
 
 THE SATIRES OF MARSTON. 
 
 "The War of the Theatres" is a term which has been 
 applied to the quarrels of Marston and Dekker with Ben 
 Jonson, which found expression in satirical plays. To this 
 "war" is due the close relationship which exists between the 
 works of these dramatists between 1598 and 1602. Whether 
 any other dramatists took part in this contest is almost wholly 
 conjectural, and the present discussion of the subject will be 
 confined chiefly to the works of the three authors mentioned. 
 That Shakespeare may have taken a hand in the quarrel seems 
 altogether likely from the well-known passage in The Rctiun 
 frovi Parnassus ; but there is no other direct evidence that he 
 did, and the indirect evidence is, unfortunately, inconclusive. 
 
 This monograph is an attempt to show the relationship of 
 the plays of which it treats, as regards the personal satire 
 contained in them, by setting forth such evidence as has been 
 found for the identification of the characters. The plays 
 which will be discussed, in whole or in part, are Every Man in 
 his Humour, Histrioniastix, The Case is Altered, Every Man 
 out of his Humour, Patient Grissil, Jack Drum, Cynthia s 
 Revels, Antonio and Mellida, Part I., Poetaster, Satiromastix, 
 What you Will, The Return from Parnassus, and Troilus 
 and Cressida. 
 
2 THE WAR OF THE THEATRES. 
 
 "The War of the Theatres" has been commented upon by 
 many critics at various times, and there exists ahiiost unanimity 
 of opinion that Marston's Satires were in some way the cause 
 of the quarrel. There has been, however, a difference of 
 opinion as to the passages in which Jonson is by some critics 
 supposed to be satirized. Two passages in Marston's Sc-c>nro;i- 
 of Villanie contain alkisions to Torquatus, and it has been 
 accepted traditionally that Jonson is the person intended. If 
 this interpretation of the passages is correct, then The Scourge 
 of Villaiiic (1598) is the earliest extant literary expression of 
 the differences between Jonson and Marston. Against the 
 theory that The Scourge of Villanie is the first attack, on 
 Jonson, must be taken into consideration his own statements 
 concerning the beginning of the quarrel. In the Apologetical 
 Dialogue appended to Poetaster, first printed in the folio of 
 1616, and stated to have been "only once spoken upon the 
 stage," Jonson says : — 
 
 but sure I am, three years 
 They did provoke me with their petulant styles 
 On every stage ; and I at last, unwilling, 
 But weary, I confess, of so much trouble. 
 Thought I would try if shame could win upon 'em.^ 
 
 This is Jonson's first direct mention of the subject. His 
 second direct mention of the "War of the Theatres" is in the 
 Conversations with Druniviond. 
 
 He had many quarrells with .Marston, beat him, and took his pistol from 
 him, wrote his Poetaster on him ; the beginning of them were that Marston 
 represented him in the stage, in his youth given to venerie.'^ 
 
 ^ Works of Ben Jonson, ed. 1640, I. 308. 
 
 2 Notes of Ben Jonson'' s Conversations with William Driimmond of Hawthorn- 
 den, edited by David Laing, Shakespeare Society, London, 1842, p\20,^ 
 
THE SATIRES OF MARSTON. 3 
 
 Both these statements attribute the beginning of the quarrel 
 to some stage representation, which, of course, could not apply 
 to T/ic Scourge of VUianie, a satire in verse. 
 
 Out of respect to tradition, and despite the statement just 
 made, we must examine Marston's Satires. The critics have 
 in almost every case dismissed the matter with a simple affirm- 
 ation, and in no instance has any good reason for the iden- 
 tification of Torquatus with Jonson been vouchsafed. It is 
 often extremely difficult at this late date fully to understand a 
 meaning which may have been clear to Elizabethan readers, and 
 many allusions must forever remain wholly unrecognized as 
 such. A careful examination of the allusions of Marston to 
 Torquatus is productive of some interesting evidence that the 
 traditional identification of Torquatus with Jonson is correct. 
 While it is undoubtedly true that much of Marston's satire is 
 aimed at his rival HalV yet the allusions to Torquatus seem 
 to be somewhat distinct from the general satire. 
 
 The first mention of Torquatus is in a note prefixed to 
 the first edition of The Scourge of Villanie, 1 598. It is as 
 follows : — 
 
 TO THOSK THAT SKEME JUDICIALL PERUSERS. 
 
 Knovve, I hate to affect too much obscuritie and harshnesse, because they 
 profit no sense. To note vices, so that no man can understand them, is as 
 fond as the French execution in picture. Yet there are some (too many) 
 that thinke nothing good that is so curteous as to come within their reach. 
 Tearming all Satyres bastard which are not palpable darke, and so rough 
 writ tliat the hearing of them read would set a mans teeth on edge ; for 
 whose unseasoned palate I wrote the first Satyre, in some places too 
 obscure, in all places mislyking me. Yet when by some scurvie chaunce it 
 shall come into th^Jate^erfumed^st_ofjudidall Torquatus (that like some 
 rotten stick in a troubled water, hath gotte a great deale of barmie froth to 
 
 1 For a discussion of this point, see The Works of Jolui Marston, edited by 
 A. H. BuUen, 1S87, I. .wii-x.xiv. 
 
4 THE WAR OF THE THEATRES. 
 
 Stick to his sides), 1 knowe hee will vouchsafe it some ol his new-minted 
 epithets (as reall, intrinsecate, Delphicke),^ when in my conscience hee 
 understands not the least part of it. But from thence proceedes his 
 judgment. Persius is crabby,- because auntient, and his jerkes (being 
 perticularly given to private customes of his time) dusky. Juvenall (upon 
 the like occasion) seenies to our judgment, gloomy, etc. 
 
 W. KiNSAYDER. 
 
 riie three editors of Marston, Halliwell,^ Dr. Grosart,* and 
 Mr. Bullen,^ make the following comments on Torquatus and 
 the "new-minted epithets." 
 
 Halliwell, in his Preface,^ speaking of the quarrel between 
 Marston and Jonson, does nothing more than quote approvingly 
 Gifford's note on Poetaster, V. i, in which, after speaking 
 of the terms used by Marston and ridiculed by Jonson, Gifford 
 says : — 
 
 The works which our author had chiefly in view {i.e. in Foetasier^^ 
 were Tlie Scour,^^^£ji£_J,'illa)iic and the two parts of Antonio atid Mt'Ilida. 
 In the forjmer of tliese, Jonson is ridiculed under the name of Torquatus, 
 for his affected use of " new-minted words," such as reall., intrin.<!ecate, and 
 Delphicke, which are all found in his earliest comedies.'' 
 
 Dr. Grosart in the Preface to his edition of Marston s PoeDis 
 thus comments on the Satires : — 
 
 I do not know the " venerie " allusions in Marston's play, or plays, that 
 aroused the anger of Jonson. But "browne Ruscus " of the opening of 
 
 1 Rev. Thomas Corser says that Torquatus . . . reall, itttrinsecatc, Dephickc, 
 refers to Hall. Collectanea Aiii^lo-Poetica, V. 13. 
 
 -Hall calls Persius "crabbed." Horace, "more smooth." Viri^nleinianim. 
 Book V. Sat. I. line 10. 
 
 3 The Works of John Marston^ reprinted from the original editions, with 
 notes and some account of his Life and Writings, by J. O. Halliwell, London, 1856. 
 
 * John Marston's Poems, edited by A. B. Grosart, Manchester, 1879. 
 
 ^ The Works of John Marston, ed. Bullen, Boston. 18S7. 
 
 •^ p. xii. 
 
 " The Works of Ben Jonson, edited by W. Clifford, London, 1816, H. 517. 
 
THE SATIRES OF MARSTON. 5 
 
 Satire 1. . . . along with the Metamorphosis ... is a flagellation of him that 
 must have told on the " Autocrat ... of the Mermaid." Torquatus, also of 
 these Satires, unmistakably points to Jonson. Let the reader study To 
 those that seeui Judiciall Perusers. The words reall. intrinsecate, 
 Delpliicke are well-known Jonsonese.^ 
 
 This, it will be seen, dismisses the whole matter without a 
 particle of proof that Torquatus is Jonson, and the remark that 
 "the words rcall, intri7isccatc, and Dclphicke are well-known 
 Jonsonese" is rather bold when we find by careful examina- 
 tion of Jonson's works only six instances in which any one of 
 these three words is used.^ 
 
 Mr. Bullen, the most recent editor of Marston, calls the allu- 
 sion to Torquatus and the "new-minted epithets" "a hit at 
 Ben Jonson,"^ and in his Introduction thus comments on the 
 passage : — 
 
 In the address '' To those that seem Judiciall Perusers" prefixed to The 
 Scourge of Villanie, Marston undoubtedly ridicules Ben Jonson for his 
 use of " new-minted epithets (as reall, ititrins^cate, Delpliicke).'''' Reall 
 occurs in Every Man out of his Ttuntour, II. I ; ifitrinsecate in Cynthia's 
 Revels, V. 2, and Delpliicke in an early poem of Jonson's. But as Every 
 Man out of his Huiiioicr was first produced at Christmas, 1 599, and 
 Cynthia's Revels in 1600, these "new-minted epithets" must have been 
 used by Jonson in some early plavs that have perished.^ 
 
 Mr. Bullen, it will be observed, gives not a single valid 
 reason for supposing that Marston's mention of Torquatus 
 in I 598 is an allusion to Jonson. 
 
 We must notice here the passages in the Chronicle of the 
 English Dmiua, by Mr. Fleay, in which mention is made of 
 
 1 fohn Marston''s Poems, ed. Grosart, Preface, p. xlviii. 
 
 - Dr. Grosart's note on the allusion to Torquatus in Satire XI. of The Scourge 
 of Villanie is mentioned below. 
 
 ^ The Works of fohn Marston, ed. I'.ullen, III. 305, note. 
 
 ■* //'/(/., I. XX \. 
 
b THE WAR OF THE THEATRES. 
 
 Marston's Satires and their connection with the "War of the 
 Theatres." The passages are as follows : — 
 
 It is clear that the beiujinning of the turmoil among the three theatrical 
 houses arose from Marston's abuse of Jonson, and praise of Daniel in his 
 Satires.^ 
 
 Marston's Satires are very important for dramatic history. They were 
 indirectly the origin of the three years' stage war between Jonson and 
 Marston, Deklcer, etc- 
 
 A little further on we find : — 
 
 But in all these Satires I find no one attacked but rival satirists, and no 
 trace of enmity to Jonson or any playwright.^ 
 
 The last passage seems to contradict the other two, which 
 contain the correct view of the matter. 
 
 Let us examine the passages in Marston's Scourge of Villanic 
 and see first whether there is any significance in the name 
 Torquatus as applied to Jonson. We read in Roman History 
 that Titus Manlius was called " Torquatus " because he slew a 
 Gaul in single combat and took from him his toi-qucs, or chain, 
 and wore it."* This stripping of the fallen foe constituted spolia 
 opivia. "Torquatus" as an adjective was applied to soldiers 
 who were for special bravery presented with a torques, or neck 
 chain. It was used also of anything which one might have 
 around the neck. " Torquatus " as a noun might be translated 
 "the man with something around his neck." With these facts 
 let us compare certain facts in the life of Ben Jonson. In the 
 Conversations with Drumviotid ^nq find the following interesting 
 parallel to the case of Titus Manlius. Jonson is quoted as 
 
 1 A Biographical Chronicle of the English Drama, by F. G. Fleay, London, 
 
 1S91, r. 97. 
 
 ••i/T'/V/., II. 69. • 
 
 8 ibid. 
 
 * Cic. Fin., I. 7. 23. 
 
THE SATIRES OF MARSTON. J 
 
 having said that " in his service in the Low Countries he had in 
 the face of both the campes killed ane enemie and taken opima 
 spolia from him." ^ 
 
 This is parallel to the deed for which Titus Manlius received 
 his name " Torquatus." The second use of the term Torqua- 
 tus, "the man with something around his neck," is not without 
 a satirical application to Jonson, who is made to say that after 
 his return from the Low Countries " being appealed to the 
 fields, he had killed his adversarie, which [who] had hurt 
 him in the arme, and whose sword was ten inches longer than 
 his ; for the which he was emprissoned, and almost at the 
 gallowes."^ 
 
 The original indictment shows that the duel was fought on 
 Sept. 22, 1598, and that Jonson's arraignment at the Old 
 Bailey was in October following. This document tells us with 
 reference to Jonson's trial : — 
 
 Cogn' indictament petit librum legit ut Cl'icus sign' cum I'r'a T, Et delr 
 juxta formam statut', etc. 
 
 In English, thus: — 
 
 He confesses the indictment, asks for tlie book, reads like a clerk, is 
 marked with the letter T, and is delivered according to the statute, etc.^ 
 
 Jonson escaped the gallows by his ability to " con his neck- 
 verse." The adjective " Torquatus " has a peculiar significance 
 in such a case. 
 
 Marston was a university man, having been given his B.A. 
 by Oxford,* and familiar with Roman history and the classic 
 
 ^ Jonson's Conversations with Driitnmond, p. 18. 
 
 2 ill id., p- 19. 
 
 3 The whole document is reprinted in T/ie Athentrum, March 6, 1886, p. 337. 
 * HalUvvell says Marston got his degree in February, 1 592, old style, Marston, 
 
 I. V. ; Mr. Fleay puts the date 1593, new style, Chronicle of the English Drama, 
 
 II. 68; Mr. Bullen gives the date 1593-94, Works of Marston, I. xii. 
 
8 THE WAK OF THE THEATRES. 
 
 use of the adjective " Torquatus." Moreover, as Jonson was 
 a pedantic Latin scholar, a reference to him as " Torquatus " 
 was a satirical compliment to his learning".^ 
 
 The "late-perfumed fist of Judiciall Torquatus " may possi- 
 bly be an allusion to the fact that Jonson had, as a consequence 
 of his duel, been branded on the thumb with the Tyburn 
 mark, as we are told in the passage quoted above from the 
 indictment.^ 
 
 Marston's Scourge of Villanie was entered. Stationers' Reg- 
 ister Sept. 8, 1 598, but it was probably not published until 
 some weeks, or even months, after entry, and the fact that the 
 duel occurred Sept. 22, two weeks after the date of entry 
 recorded for TJie Scourge, does not seriously interfere with the 
 probability of the allusion to Jonson's duel. The preface "To 
 those that Seeme Judiciall Perusers " was, of course, the last 
 thing written for the book, and touched upon an event which 
 had just occurred. In the first passage in which Torquatus is 
 mentioned,'^ he is spoken of as likely to apply to Marston's 
 work " new-minted epithets," such as rcall, intrinsccate, 
 Dclphickc. 
 
 Gifford affirms that these words are all " to be found in 
 Jonson's earliest comedies," which may be perfectly true, 
 but is no proof of the intended allusion to Jonson, because 
 Marston's Scoiitgc of Villanie, in which this allusion occurs, 
 
 ^ It is not impossible that the idea of stripping a fallen foe, connoted by the 
 term Torquatus, from its application to Titus Manlius, may, when the same term 
 is used of Jonson, contain an allusion to the incident related by Jonson to Drum- 
 mond, " He beat Marston and took his pistol! from liim." Conversations of Jonson 
 ■with Dynnnnond, p. 1 1. See also p. 20. 
 
 - Tiiere have been doubts expressed as to whether or not Jonson was actually 
 branded with a hot iron, there being apparently no allusion to it in Satiromastix, 
 in which almost every other incident in connection with the duel is mentioned. 
 For a discussion of this point, see T/ie Athenerum, March 6, 1SS6, p. 337, and 
 June 19, 1886, p. 823. 
 
 * "To those that Seeme Judiciall Perusers." 
 
THE SATIRES OF MARSTON. 9 
 
 was published in 1598, in which year Every Man in his 
 llunionr is the only extant work of Jonson's that had been 
 acted. It is not necessary, however, that the words ridiculed 
 should have been used in plays, as there is no particular allu- 
 sion to Torquatus as a dramatist. An examination of Jonson's 
 work reveals some interesting facts concerning his use of two 
 of the ridiculed words in very early extant work. While it 
 is well recognized that much of Jonson's earliest work has 
 probably been lost, yet we have no right in the present case to 
 base any hypothesis on non-extant work. Mr. BuUen seems to 
 do this in his note quoted above. 
 
 Gifford noticed Jonson's use of the word rcall (= regal) in 
 Every Man oitt of his Humonr, and remarked that in the 
 quarto it is printed with a capital, "Real Entertainment."^ 
 In the quarto, 1601, of Every Man in his Hinnonr, we find 
 " and entertaine a perfect reall substance," ^ and in the next 
 scene we find Lorenzo, Junior, speaking of "reall ornaments." 
 These uses of the word are probably prior to Marston's sup- 
 posed allusion, for the quarto contains the text of the play as 
 first acted and differs in many ways from the altered version of 
 the play printed for the first time in the folio of 161 6. The 
 text as given in the quarto is the one to which Marston would 
 refer in TJie Scourge in 1598. 
 
 Jonson uses intrinsecate, the second of the ridiculed terms, 
 but not in any extant work earlier than Cynthia s Revels (1600), 
 V. 2, a fact noted also by Mr. Bullen.^ The third word, Del- 
 pJiicke, is found in Jonson's work and in two passages both 
 very early. "Delphic riddling" is Jonson's translation of 
 
 1 II. I. 21. I. 
 
 * " Intrinsecate is one of the ' new-minted epithets ' that Marston accuses Ben 
 Jonson, 'Judiciall Torquatus' of vouchsafing to his (Marston's) Satires. But 
 'intrinsecate' used also by Shakespeare, was at least si.xty-eight years old when 
 Marston wrote, for it occurs in the probably unique Fantasy of the fassion of ye fox 
 lately of the toiane of My re a lytele besydc Shaft shurye in the dyouses of Salysbiiry. 
 
lO THE WAR OF THE THEATRES. 
 
 sortilegis Dclphis in the Ars Poetica, line 219. As to the 
 date of this we have Jonson's general, and probably only 
 approximately correct, statement in 1619, that this translation 
 of the Ai's Poetica was made " twenty years since." ^ Accept- 
 ing this as an exact statement, the date would be 1 599 ; but 
 there is no reason why it might not have been 1 598 or even 
 earlier, as the expression "twenty years since" may certainly 
 be taken as only approximate. The fact that Jonson " keept 
 [it] long in wrytt as a secret"'-^ may indicate that Marston 
 could not have seen it as early as 1598. 
 
 One other use of the word Delphic occurs in the Ode to 
 Desmond, Underivoods, XLIII. We have no evidence that 
 Marston ever saw these passages, but it is significant that they 
 exist at all in early work. A much later use of the word by 
 Jonson is to be found in his Tiinlw)- in the Character principis, 
 where he speaks of the "Delphic sword." ^ 
 
 These uses of the terms ridiculed by Marston are not in 
 themselves conclusive proof that Jonson was meant by Torqua- 
 tus, but they may fairly be said to show (i) that these three 
 unusual words do find a place in Jonson's vocabulary ; (2) that 
 they are all in early work ; (3) that one word, real, is used in 
 work probably earlier than Marston's rid-icule in i 593 ; another 
 
 ImpiintdJ by ffid U'vit/cyn de Worde y^ xvi day of Fcbrnary. The y ere of our Lorde 
 yJ/FCA'A'A', just printed l)y Mr. Henry Iluth in the first series of his most rare 
 Fugitive Tracts : — 
 
 ' The dolour intrynsecate vext me ones or twyse 
 So sore that my wyttes were brought to confusyon.'" 
 
 F. J. F. in Azotes and Queries. Series 5, Vol. III. p. 346. 
 
 1 Joiisou's Conversations with Dru/ninond, p. 29. 
 
 2 ilnd. 
 
 8 In this use of the word Jonson is translating the classic /xdxaipa AeX(/)iKi), and 
 there is, therefore, nothing peculiar in his use of the word Delphic. This was 
 suggested to me by my colleague Prof. W. A Lamberton. See also the note on 
 this in Jonson's Timber, edited by Prof. F. K. Schelling, note, p. 42, 1. 18. 
 
THE SATIRES OF MARSTON. I I 
 
 word, Delphickc, is used in work possibly earlier than the 
 ridicule. 
 
 These various tests of the applicability of the allusion to 
 Torquatus and his "new-minted epithets" to Jonson are 
 cumulative, and make it all but certain that he was the man 
 intended. 
 
 In every attack made by Jonson upon Marston we find 
 Marston's vocabulary made an object of ridicule, the most 
 direct and severe attack being in Poetaster, Act V. Sc. i, 
 where Crispinus is made to disgorge words used by Marston. 
 This fact tends to establish yet more firmly the conclusion that 
 it is Jonson whose "new-minted epithets" are attacked in The 
 Scourge of Villanie. 
 
 It remains to notice the second allusion to Torquatus in 
 Satire XI. of TJie Scourge of Villanie. The lines are — 
 
 Come aloft, Jack, room for a vaulting skip, 
 Room for Torquatus, that ne'er oped his lip 
 But in prate of pommado reversa, 
 Of the nimbling, tumbling Angelica, 
 Now on my soule his very intellect 
 Is nought but a curvetting sommerset.^ 
 
 Dr. Grosart is the only editor that has offered any sugges- 
 tion as to the meaning of this allusion, his remark being, 
 •'I cannot speak certainly whether ' Sommerset ' be meant 
 for a hidden stroke at 'Torquatus,' i.e. Jonson's adulation of 
 ' Somerset.' " ^ 
 
 Mr. Bullen's only comment on this passage is, "The pom- 
 mado was the vaulting on a horse {without touching the stir- 
 rups) and the povimado reversa was the vaulting off again." ^ 
 Halliwell does not notice this passage at all. 
 
 1 The Scourge of Villartie, Sat. XI. II. 98-103. 
 
 2 Marston's Poems, ed. Grosart, Introd., p. xli.x. 
 
 3 The Works of Marston, III. 375. 
 
12 THE WAR OF THE THEATRES. 
 
 Other passages in Marston's Satires have been supposed to 
 refer to Jonson. To these various identifications we can reply 
 only that we do not know that they were not meant for 
 Jonson ; we have no proof that they were.^ 
 
 ^ Dr. Grosart thinks that " browne Ruscus " {^Metamorphosis of Pigtnalion^s 
 Image and Certaine Satyres, Sat. I. 5-10) was meant for Jonson. Marston's 
 Poems, Preface, p. xlviii. The lines are — 
 
 Tell me, browne Ruscus, hast thou Gyges ring, 
 That thou presum'st as if thou wert unseene .'' 
 If not why in thy wits halfe capreall, 
 Lett'st thou a superscribed letter fall .'' 
 And from thyselfe unto thyselfe doost send, 
 And in the same, thyselfe thyselfe commend ? 
 
 In Every Man out of his Humour, I. i, Carlo suggests to Sogliardo a device 
 with a letter similar to the device mentioned above. Marston's lines were pub- 
 lished in 1598, while Jonson's play was not performed until 1599, so that there 
 can hardly be any allusion to it. 
 
 Tubrio, in the same work of Marston's, Sat. I. 89-125 and .Sat. II. 118-119, has 
 been by some thought to be an attack on Jonson's licentiousness, of which he told 
 Drummond. {Cotn'ersations, p. 21.) The passage in Satire II. is — 
 
 'T is loose-legg'd Lais, that same common drab 
 For whom good Tubrio took the mortal stab. 
 
 Mr. Bullen says {Works of Marston, III. 273), "It has been suggested without 
 the slightest shadow of foundation, that the allusion is to the death of Marlowe." 
 Dr. Nicholson says (in Grosart's Marston, p. xlvi, quoted by Mr. Bullen), " If 
 Tubrio be Marlowe, then the hitherto unknown courtesan was the hermaphroditic 
 ' Moll Cutpurse.'" Dr. Grosart say's {Marston, p. xWu), ''U Marlowe be there 
 pointed at, what possible ground can there be for separating the earlier descrip- 
 tion {i.e. Sat. I. 89-125) from the later.'"' 
 
II. 
 
 EVERY MAN IN HIS HUMOUR. 
 
 The first play to be considered in our discussion of "The 
 War of the Theatres " is Ben Jonson's comedy, Every Man in 
 Jiis Humour, a play which, although it contains no mention 
 of Marston, was yet closely connected with the "War," on 
 account of the violent attack on Daniel which it contains. The 
 play shows plainly the arrogance of Ben Jonson's attitude 
 toward his contemporaries ; and the satire of Daniel, who was 
 then popular and prominent, aroused opposition against the 
 author of the attack. Why Jonson attacked Daniel, whom so 
 many of his other contemporaries praised, we do not know ; but 
 it is altogether probable that Daniel's close connection with the 
 court, shown by the tradition that he succeeded to the position 
 held by Spenser, who was virtually poet laureate, made him the 
 great obstacle in the way of Jonson, who was ambitious for court 
 preferment. It was after this attack on Daniel that we find 
 Jonson attacked by Marston in TJic Scourge of Villanic, and 
 probably also in Histriouiastix. 
 
 Every Man in his Humour has come down to us in two very 
 different forms, an earlier, given in the quarto 1601, and a 
 later, given in the folio 16 16. The quarto gives the play as it 
 was first performed, and is therefore the text with which we 
 are chiefly concerned in the present discussion. The contro- 
 versies concerning the date of the first production of the play 
 do not especially concern us in the present connection, and it 
 is enough for us to know that 4:he play had certainly been per- 
 
14 TIIK WAR OF THE THEATRES. 
 
 formed in i 598, a fact of which Jonson informs us on the title- 
 page in the folio of 16 16.' 
 
 The Prologue to Every Man in his Iliiino/ir is clearly an 
 attack on methods employed by other playwrights, but all 
 attempts to show that particular plays of Shakespeare, or any 
 other dramatist, were aimed at, lose their force when we con- 
 sider that criticisms on methods of dramatic construction were 
 very common at the time. We find criticisms precisely similar 
 to those of Jonson's l^^ologue in Whetstone's Dedication of 
 ProjHOS and Cassandra,^ \)\\wXc(\ in 1578; in Sidney's Apologie 
 for Poctrif^ written probably as early as 1581 ; also in A ll'drn- 
 
 1 Henslowe's Diary contains records of the performance of a play called The 
 Comodey of Umers on eleven dates between May ii and Oct. 1 1, 1 597. Henslowes 
 Diary, ed. J. P. Collier, Shakespeare Society, 1845, PP- ^7~9'- Some have thought 
 that these entries refer to Jonson's Every Mun in //is Hiinioiir. Mr. Fleay says 
 that. The Comodey of i'mers was "certainly the same play" as Chapman's A 
 Humorous Day's Mirth. Chroiriele of the English Drama, 1. 55. Jonson was in 
 the employ of Henslowe in 1 597, as several entries in the Diary show. See Heus- 
 hnve's Diary, pp. 255, 256. For a discussion of the date of first production of 
 Every Man in his Humour, see Dr. Brinsley Nicholson's articles in The Anti- 
 quary, July, 1882, pp. 15-19 and September, 18S2, pp. 106-110; also Chronicle of 
 the English Drama, Fleay, I. 358. The quarto has the following title-page: 
 Every Man in his Humor \ as it hath been sundry times | puhlickly acted by the 
 right ] Honorable the Lord Cham \ berlaiue his serz'auts. | Written by Ben John- 
 son. Quod non dant proceres, dabit Histrio | Hand tameu invidias vati, quem pul- 
 pita pascunt. \ Imprinted at London, for Walter Ihtrre, and are to \ be sould at his 
 shoppe in Paules church-yarde \ 1601. 
 
 The play in this earlier form differs considerably from tiie folio text of i6i6. 
 The characters in the quarto bear Italian names, of which the list is as follows (with 
 the names as given by the folio, in parentheses) : Lorenzo Senior (Knowell), Thor- 
 ello (Kitely), Prospero (Wellbred), Stephano (Stephen), Doctor Clement (Justice 
 Clement), Bobadilla (Bobadil), Musco (Hrainworm), Ciiulliano (Downright), Lo- 
 renzo Junior (Kdward Knowell), Hiancha (Dame Kitely), llesperida (liridget), Peto 
 (Formal), Matheo (Mathew), Pizo (Cash), Cob (Cob), Tib (Tib). 
 
 The two te.\ts differ considerably, one of the chief instances being in Act V., in 
 which along speech of Lorenzo Junior in defence of poetry has been omitted from 
 the lines of Edward Knowell. Cifford gives the omitted passage in his note. 
 
 -Shakespeare's Library, ed. Ilazlitt, Pt. II. \'ol. II. p. 204. 
 
 8 Ed. Arber, p. 64. 
 
EVERY MAN IN HIS HUMOUR. i 5 
 
 ing for Fair JVomcn, 1599.^ Other examples might be men- 
 tioned. If we try to explain Jonson's criticisms as referring to 
 Shakespeare, or any other dramatist, we must explain also the 
 allusions in all similar criticisms. As Jonson's Prologue was 
 printed for the first time in the folio in 1616, and as we do not 
 know when it was written, though various guesses have been 
 made, there is nothing, so far as chronology is concerned, to 
 prevent our referring Jonson's strictures to any plays of Shake- 
 speare's to which they may be applicable. The Prologue is — 
 
 Though need make many poets, and some such 
 
 As art and nature have not bettered much ; 
 
 Yet ours for want hath not so loved the stage, 
 
 As he dare serve the ill customs of the age, 
 
 Or purchase your delight at such a rate. 
 
 As, for it, he himself must justly hate : 
 
 To make a child now swaddled, to proceed 
 
 Man, and then shoot up, in one beard and weed. 
 
 Past threescore years ; or with three rusty swords, 
 
 And help of some few foot and half-foot words, 
 
 Fight over York and Lancaster's long jars, 
 
 And in the tyring house bring wounds to scars. 
 
 He rather prays you will be pleased to see 
 
 One such today as other plays should be ; 
 
 Where neither chorus wafts you o'er the seas. 
 
 Nor creaking throne comes down the boys to please : 
 
 Nor nimble squib is seen to make afeard 
 
 The gentlewomen ; no rolled bullet heard 
 
 To say, it thunders ; nor tempestuous drum 
 
 Rumbles, to tell you when the storm doth come ; 
 
 But deeds, and language, such as men do use. 
 
 And persons, such as comedy would choose, 
 
 When she would shew an image of the times. 
 
 And sport with human follies, not with crimes. 
 
 Except we make them such, by loving still 
 
 Our popular errors, when we know they "re ill. 
 
 ^ T/ie School of Shakspere, Simpson, II. 242, 243. 
 
I 6 THE WAR OF THE THEATRES. 
 
 I mean such errors as you '11 all confess 
 By laughing at them, they deserve no less : 
 Which, when you heartily do, there 's hope left then, 
 You, that have so graced monsters, may like men. 
 
 That some of these criticisms are applicable to plays of 
 Shakespeare is evident ; that they are applicable to the plays 
 of other men is equally evident, but is a fact ignored by those 
 who believe that Jonson and Shakespeare quarrelled. The 
 chorus that " wafts you o'er the seas " may refer to Henry V. or 
 to Winter' s Tale, but it may also refer to the chorus in The 
 Life and Death of Stukeley, 1600, which bids the auditors 
 " Embarked and victualled think him on the sea." ^ " York 
 and Lancaster's long jars " may refer to Hoiry VL, Parts I., II., 
 and III., or to the several old plays, upon which these plays were 
 modelled. "The creaking throne" was a common device used 
 in many plays, as in Sir Clyoinon and Claniydes, i 599, in which 
 Providence is "let down,"^ or in A Looking Glass for London 
 and England, 1 594, in which Oseas is let down from the flies. ^ 
 Violation of the unity of time is severely ridiculed by Sidney and 
 Whetstone in the passages already referred to, and while it is 
 possible to apply Jonson's line about "a child new swaddled," 
 to Winter's Tale, it is equally applicable liLjiumerous other 
 plays, such as Patient Grissil, by Dekker. " The rolled bullet 
 . . . to say it thunders" and "the tempestuous drum" may 
 refer to the opening scenes of Macbeth and TJie Tempest, or to 
 King Lear, or to many other plays by other dramatists, in which 
 storms are represented, as, for example, Faiistns, Locrine or 
 Miicedorus. One of the most absurd attempts to prove that 
 Shakespeare was attacked in this Prologue is based on the fact 
 that it was published in the year of Shakespeare's death.'* 
 
 1 77/1? School of Shakspere, Simpson, I. 248. 
 
 '^ Peek, ed. Dyce, p. 520. ^ Greene, ed. Grosart, XIV. 14. 
 
 * Ben Jotisoti utid seine Schule. Wolf Graf von Baudissin, I. ix. See also Essay on 
 the Life and Dratnatic JVritings of Ben Jonson ,hy Alexander Schmidt, Dantzig, 1847. 
 
EVERY MAN IN HIS HUMOUR. 1 7 
 
 Whatever may be the allusions to particular plays there is no 
 doubt as to Jonson's views ot the function of dramatic repre- 
 sentation as expressed in this Prologue. His play observes the 
 unities, and holds up to view "popular errors." The charac- 
 ters are not merely types of classes, but in many instances 
 undoubtedly represent individuals who were at the time living 
 in London. Various guesses have been made as to the identity 
 of the persons thus represented, and in many instances these 
 guesses have been almost wholly unsupported by evidence. 
 
 It is apart from the purpose of the present discussion to 
 mention all of the supposed identifications that have been made 
 of the characters in the plays of which it treats. One or two 
 guesses may be mentioned here, however, as showing the eage^-- 
 ness of some critics to involve Shakespeare in " The War of 
 the Theatres." 
 
 Dr. Robert Cartwright stated in his monograph that in Every 
 Man in his Hjimotir Shakespeare was meant by Master Stephen, 
 the country gull, and also by Wellbred.^ The only reason given 
 for the first identification is that Shakespeare spent his boy- 
 hood in the country, while the second is supposed to be proved 
 by the fact that Edward Knowell, assumed by Dr. Cartwright 
 to be Jonson, is " almost grown to be the idolater of this young 
 Wellbred."^ If either of these identifications could be proved, 
 we should have an interesting situation, a man acting in a play 
 in which one of the other characters represented himself, for, 
 as we know from the list of actors published in the folio, Shake- 
 speare was one of the Chamberlain's men, who produced this 
 play. We learn from the play a numbeji, of faGts-^ii:oncern- 
 ing Master Stephen, and it needs no argument to show that, 
 whoever else Stephen may be, he is certainly not Shakespeare. 
 
 ^ Shakespeare and Jo)ison, Dramatic versus IVit Combats, Auxiliary forces, Beau- 
 mont and Fletcher, Marston, Dekker, Chapman and Webster, London, 1864, pp. 
 22, etc. 
 
 ^ Every Alan in his Humour, I. i. 
 
1 8 THE WAR OF THE THEATRES. 
 
 In I. I, we are told that Master Stephen is "a country gull," 
 nephew of Knowell ; is interested in hawking and hunting ; 
 wants to imitate courtiers ; dwells at Hogsden. He is called 
 by his uncle "a prodigal absurd coxcomb." He wastes that 
 which his friends have left him, and affects to make a blaze of 
 gentry to the world. He is next heir to Knowell, if Edward 
 Knowell die. He has a living of his own hard by. He swears 
 all kinds of strange oaths. He is vain of his legs in silk hose 
 (I. 2) ; is a coward and "protests." In II. 2, Master Stephen 
 has a jet ring sent him by " Mistress Mary " with the " poesie " : 
 
 Though fancy sleep 
 My love is deep. 
 
 to which he replies : — 
 
 The deeper the sweeter 
 
 I '11 be judged by Saint Peter. 
 
 In the same scene Master Stephen buys Brainworm's rapier. 
 In III. 2, Wellbred calls Master Stephen "a fool ... it needs 
 no affidavit to prove it." 
 
 Master Stephen's name is entered in the " Artillery Garden." 
 In IV. 9, he wears Downright's coat and is arrested by Brain- 
 worm. Downright calls Master Stephen " Signior gull . . . 
 turned filcher of late." Such are the facts stated concerning 
 Master Stephen. When Master Mathew speaks of overflowing 
 •'half a score, or a dozen sonnets,"^ Master Stephen replies 
 " I love such things out of measure" ; this, taken with the fact 
 that he is friendly to Master Mathew, and praises the latter's 
 poems, suggests the possibility that Master Stephen and Mas- 
 ter Mathew in this play may be the same persons as Fungoso 
 and Fastidious Brisk in Every Man out of his Huvionr, and 
 Asotus and Hedon in CyntJiia s Revels. It will be shown that 
 Master Mathew, Fastidious Brisk, and Hedon are all represen- 
 
 illl. I. 
 
EVERY MAN IN HIS HUMOUR. 19 
 
 tations of Samuel Daniel, and that Asotus and Fungoso were 
 meant for Thomas Lodge. In his desire to make a blaze of 
 o-entry, as well as in some other particulars, Master Stephen 
 suggests Sogliardo in Every Man out of his Humour. 
 
 Another supposed identification, which has more apparent 
 probability than the identification of Master Stephen with 
 Shakespeare, is that of George Downright with Jonson. It is 
 a well-known fact that Jonson does appear in each of his next 
 three plays : as Asper in Every Man out of Ids Humour, as 
 Crites in Cynthia's Revels, and ^^ Horace in Poetaster. 
 
 Downright is "a plain squire," "half-brother of Wellbred." 
 He brags that he will give Master Mathew the bastinado (I. 4). 
 Bobadil threatens to beat Downright if he chance to meet him 
 (I. 4), but is a coward when he does (IV. 5). Downright is 
 "a tall, big man ... he goes. in a cloak most commonly of 
 silk russet laid about with russet lace" (IV. 7). The general 
 hostility of Downright to Master Mathew strongly suggests 
 Jonson's hostility to Daniel, of which further mention will be 
 made. Against any identification of Jonson in this play must 
 be taken Dekker's statement made in his dedication of Satiro- 
 mastix "To the world": — 
 
 I meete one, and he runnes full Butt at me with his Satires homes, for 
 that in untrussing Horace I did onely whip his fortunes, and condition of 
 life, where the more noble Reprehension had bin of his mindes Deformitie, 
 whose greatnes if his Criticall Lynx had with as narrow eyes, observ'd in 
 himselfe, as it did little spots upon others, without all disputation, Horace 
 would not have left Horace out of Every Man in's Humour.^ 
 
 If any character in Every Man in his Humour had been 
 a representation of Jonson himself, Dekker would not have 
 omitted to mention the fact and the name of the character 
 when he wrote in Satiromastix : — 
 
 '^ Satiromastix, Quarto, 1602, p. 3. 
 
20 THE WAR OF THE THEATRES. 
 
 You must be call'd Asper and Criticus and Horace ; thy tytle 's longer 
 areading than the stile a the big Turkes : Asper, Criticus,^ Quintus Hora- 
 tius Flaccus.- 
 
 Justice Clement is a clearly defined character. He lived on 
 Coleman Street (III. 2) ; "he is a city magistrate, a justice 
 here, an excellent good lawyer, and a great scholar, but the 
 only mad merry old fellow in Europe. ... He is a very 
 strange presence, methinks ; it shews as if he stood out of the 
 rank from other men. I [Edward Knowell] have heard many 
 of his jests in the University. They say he will commit a man 
 for taking the wall of his horse ... or wearing his cloak on 
 one shoulder, or serving God, any thing indeed, if it come in 
 the way of his humour" (HI. 2) ; he will permit no one to 
 speak against tobacco (HI. 3) ; Clement always pardons cul- 
 prits ; will challenge the poet, Master Mathew, at r.r tempore ; 
 he burns Mathew' s poems (V. i). It would seem that from 
 these particulars it might be possible to identify the original of 
 this character. 
 
 It has been thought by some that Clement may be Lyly.^ 
 Cob speaks of having been his neighbor eighteen years, which 
 may possibly have reference to the date of publication of 
 EiipJmes and Jiis Ejigland, 1580. There are several points in 
 which the facts concerning Lyly agree with what we are told 
 of Justice Clement. Lyly graduated B.A. Oxford, 1573, and 
 was granted the degree M.A. by Cambridge in 1579. He 
 gained at Oxford the reputation of being "a noted wit." 
 Nashe says that Lyly was an immoderate tobacco-smoker.'* 
 Joseph Hall, the satirist, when in charge of a parish at Hal- 
 sted, in Suffolk, was opposed by a " Mr. Lilly/' who has been 
 
 1 Crites was called Criticus in the quarto of Every A/an out of his Htimon)-. 
 - Satiro?)iastix, IVorks of T/iomas Dekker, published by John I'earson, 1873, I. 
 200. 
 
 •'^ Shakespeare and Joiison, Dramatic verstis J Fit Combats, p. 19. 
 
 ■* Ha7'c li'ith you to Saffron W'aldcn. Works of A'ashe, ed. Cirosart, III. 204. 
 
EVERY MAN IN HIS HUMOUR. 
 
 21 
 
 thought to have been the author of Eiiphucs, and who is 
 described as "a witty and bold atheist." This was in 1601.1 
 It is barely possible that Justice Clement's love of tobacco and 
 committing a man for "serving God " may be allusions to the 
 facts in Lyly's case. During the latter part of his life, and up 
 to his death in 1606, Lyly lived in the parish of St. Bar- 
 tholomew the Less in the ward of Farringdon without, and is 
 buried in that church.2 Justice Clement lived on Coleman 
 Street, which was within " the city." 
 
 Kitely has been thought, absurdly, to be Ford, the dramatist,'^ 
 but as Ford was not baptized until 1586,* it is impossible that 
 he could have been represented by Jonson in 1598. Kitely is 
 a merchant who took Thomas Cash " as a child " and christened 
 him . . . and bred him at the Hospital" (II. i). In V. i, 
 Kitely quotes a passage " out of a jealous man's part in a play." 
 
 See what a drove of horns fly in the air, 
 
 Winged with my cleansed and my credulous breath ! 
 
 Watch 'em suspicious eyes, watch where they fall. 
 
 See, see ! on heads, that think they have none at all ! 
 
 O what a plenteous world of this will come ! 
 
 When air rains horns all may be sure of some. 
 
 No editor of Jonson has discovered from what play these lines 
 are taken. Kitely has not been identified. 
 
 Thomas Cash, whose name suggests Thomas Nashe, was servant 
 to Kitely ; bred at the Hospital (II. i) ; "is no precisian nor 
 rigid Roman Catholic " ; "he'll play at fayles and tick-tack " 
 (III. 2). The use of the exclamation " Martin ! " (III. 2) suggests 
 the Martin Marprelate controversy. Cash remains unidentified. 
 
 '^Dictionary of IVational Biography, XXIV. 76, s. v. Joseph Hall. The Rev. 
 Canon Perry, the author of the article, says of this " Mr. Lilly," " probably 
 John Lilly or Lyly, author of Enphuesr It is by no means certain that he was. 
 
 '^Loudon Past and Present, Wheatley and Cunningham, I. 117. 
 
 ^Shakespeare and Jonson, Dramatic versus Wit Combats, p. 23. 
 
 * Chronicle of the English Drama, I. 230. 
 
22 THE WAR OF THE THEATRES. 
 
 Brainworm claims that he has been in all the late wars, Bo- 
 hemia, Hungary, Dalmatia, Poland ; fourteen years a soldier 
 by sea and land, shot twice at Aleppo, once at Vienna ; has 
 been at Marseilles, Naples, and Adriatic gulf ; ^ slave in galleys 
 thrice, shot in head and thighs (II. 2). In the same scene, in 
 disguise, he sells his rapier. Some have thought'^ that the 
 various battles and campaigns referred to are allusions to 
 Jonson's own career. This can hardly be the case. Cob is 
 descended from a herring (cob) ; is a water carrier (I. 3) ; is 
 a cuckold (III. 2) ; is threatened with jail for speaking against 
 Bobadil's tobacco (III. 3). 
 
 Bobadil is the braggart soldier who evidently appears a 
 second time as Shift in Every Man out of his Htinioiir, and 
 a third time as Tucca in Poetaster. In his dedication " To 
 the World," prefixed to Satiroiiiastix, Dekker wonders "what 
 language Tucca [and therefore probably Bobadil] would have 
 spoke, if honest Capten Hannam had bin borne without a 
 tongue. 1st not as lawfuU then for mee to imitate Horace as 
 Horace Hannam .-* "^ Bobadil swears strange oaths ; he was in 
 the fight at Strigonium (III. i) ; he has been to the Indies, 
 where tobacco grows, and calls tobacco "divine tobacco " (quot- 
 ing Spenser, Faery Queen, III. v, 32). He brags of having 
 defeated several men at once, and proposes a plan by which 
 twenty skillful swordsmen could kill forty thousand men (IV. 5). 
 
 Knowell " is a man of a thousand a year Middlesex land " 
 (I. i) ; says of himself, quoting in substance words of old 
 Jeronimo in The Spaiiish Tragedy, — 
 
 ' The quarto reads " America" for " Adriatic gulf." 
 
 - Gifford states in a note that "in the French version of this play we are told 
 that this and what follows is an account of the campaigns really made by Jonson ! 
 It is a pity that the editors stopped here ; a life of Jonson on the authority of 
 quartermaster Brainworm would have been a great curiosity." Works of Jonson, 
 ed. Gifford, I. 54. 
 
 ^ Works of Dekker, Pearson, I. 1S2. 
 
EVERY MAN IN HIS HUMOUR. 23 
 
 Myself was once a student, and indeed, 
 
 Fed with the selfsame humour he is now, 
 
 Dreaming on nought but idle poetry. 
 
 That fruitless and unprofitable art. 
 
 Good unto none, but least to tlie professors ; 
 
 Which then, I thought the mistress of all knowledge ; 
 
 But since, time and the truth have waked my judgment, 
 
 And reason taught me better to distinguish 
 
 The vain from the useful learnings.^ 
 
 Knowell has been absurdly identified with Chapman, who 
 could not well be represented as speaking the lines just quoted. 
 Edward Knowell, who wished to be a poet against his father's 
 wishes, is similar to Ovid Junior, in Poetaster, who wished to 
 be a poet, instead of a lawyer, against the wishes of his father, 
 Ovid Senior. Mr. C. H. Herford suggests^ that the relations 
 between Jonson and his step-father may have been shadowed 
 in the pictures of the Knowells and the Ovids. 
 
 Edward Knowell is a scholar "■ of good account in both our 
 Universities, either of which hath favored him with graces." He 
 is almost "the idolater of this young Wellbred " (I. i). He 
 is of "fair disposition, excellent good parts," "a handsome 
 young gentleman" (IV. i). Knowell tells Edward Knowell 
 not to write poetry, lest it be burned, as Mathew's was {V. i). 
 Neither Edward Knowell nor Ovid Junior, whom he so strongly 
 resembles, has been identified. Lyly was favored with de- 
 grees by both Universities, but in no other respect does he 
 resemble Edward Knowell. 
 
 Of Master Wellbred we know very little beyond the fact 
 that his sister married Kitely, and that Downright accuses him 
 of having "your poets and potlings, your soldados and foolados 
 to follow you up and down the city." Wellbred answers 
 
 ^ The Spanish Tragedy V., Dodsley, V. 147. 
 
 ^ Ben Jottson, Mermaid edition, edited by Dr. Brinsley Nicholson, Introduc- 
 tory essay by C. H. Herford, p. x. 
 
24 THE WAR OF THE THEATRES. 
 
 Downright's abuse by threatening to cut off his ears (IV. i). 
 Wellbred quotes Latin, " Quos aequus amavit Jupiter " (III. i.), 
 and is the intimate friend of Edward Knowell, to whom he 
 sends the letter (I. i). 
 
 The only character that has been positively identified is 
 Master Mathew, who is a representation of Samuel Daniel. 
 Jonson did not look with approval on Daniel's poetry, although 
 Daniel was very popular with the public, an^"~Wttii-such critics 
 as Nashe, Spenser, and Lodge, all of whom, as well as Mei^s, 
 had praised his poems. ^ 
 
 In his Conversations with Drummond, 1619, Jonson said 
 several things about Daniel which show that the two men did 
 not agree in their ideas of poetry. The following are the notes 
 
 made by Drummond : — 
 
 J 
 
 Said he had written a Discourse of Poesie both against Campion and 
 Daniel, especially this last.^ . . . 
 
 Samuel Daniel was a good honest man, had no children ; but no 
 poet.8 
 
 Daniel was at jealousies with him.* 
 
 Daniel wrott Civill Warres, and yett hath not one batle in all his book.^ 
 
 While these statements were made in 1619 and give Jonson's 
 opinion of Daniel at that time, yet they agree with the repre- 
 sentations of Daniel in Jonson's early comedies. 
 
 1 Nashe, in Pie7-s Pennilesse, praised Kosafnond ; Nashe, ed. Grosart, II. 60. 
 Spenser, in Colin Clout, praised Delia ; Spenser, ed. Grosart, IV. 50. In the 
 Induction to Phillis, Lodge praised Delia ; Phillis, p. 6. Hunterian Club reprint. 
 Meres praised Delia in Palladis Tamia ; English Poets and Poesy, Haslewood, II. 
 1 50. There are many other passages in which Daniel was praised by his contem- 
 poraries. 
 
 '^ Jonson'' s Conversations with Drumviond, p. I. 
 
 ^ ibid., p. 2. 
 
 * ibid; p. 10. On this statement Laing has this note : " Jonson says (in a letter 
 to the Countess of Rutland) that Daniel ' envied him though he bore no ill will on 
 his part.' " 
 
 ^ ibid., p. 16. 
 
EV'ERY MAN IN HIS HUMOUR. 2$ 
 
 Master Mathew, the " town gull," is the person attacked 
 most vigorously in the play.^ 
 Cob says : — 
 
 You should have some now would take this Master Mathew to be a 
 gentleman, at the least. His father 's an honest man, a worshipful fish- 
 monger, and so forth ; and now does he creep, and wriggle into acquaintance 
 with all the brave gallants about the town, such as my guest is (O my guest 
 is a fine man !) and they flout him invincibly. He useth every day to a 
 merchant's house, where I serve water, one master Kitely's, in the old 
 Jewry ; and here 's the jest, he is in love with my master's sister, Mrs. 
 Bridget, and calls her Mistress ; and there he will sit you a whole afternoon 
 sometimes reading of these same abominable, vile (a pox on 'em ! I cannot 
 abide them), rascally verses, poetrie, poetrie, and speaking of interludes ; 
 'twill make a man burst to hear him, and the wenches, they do so jeer and 
 ti-he at him.^ 
 
 Master Mathew meets Bobadil I, 4. and quotes from T/w 
 Spanish Tragedy (HI) some lines which he praises. The lines 
 are — 
 
 O eyes, no eyes, but fountains fraught with tears ! 
 O life, no life, but lively form of death ! 
 O world, no world, but mass of public wrongs ! 
 Confused and filled with murder and misdeeds ! ^ 
 
 Bobadil also praises the lines and Mathew then recites lines 
 which he says are "a toy of mine own in my nonage ; the 
 infancy of my muses." The lines are as follows in the quarto : 
 
 1 Master Mathew appears in ten of the twenty scenes into which the play is 
 divided, as does also Master Stephen. Brainworm appears in eleven scenes, Bo- 
 badil in nine, Edward Knowell in eight, Kitely and Cob in seven each, Wellbred, 
 Cash, and Knowell in six each, and the other characters in from two to five scenes 
 each, Clement appearing in only two. In almost every scene in which Master 
 Mathew appears he is held up to ridicule. 
 
 - I. 3. Folio text. 
 
 ^ I. 4. See Every Man out of his Humour, V. i , where Macilente ridicules Sidney's 
 sonnet, Astrophel and Stella, C, beginning "O tears, no tears, but raine from 
 beautie's skies." Macilente quotes the expression " more than most fair" used in 
 this sonnet. 
 
26 THE WAR OF THE THEATRES. 
 
 To thee, the purest object to my sense, 
 
 The most refined essence Heaven covers. 
 
 Send I these Hnes wherein I do commence 
 
 The happy state of true deserving lovers. i 
 
 If they prove rough, unpolished, harsh and rude, 
 
 Haste made the waste ; thus mildly I conclude. 
 
 Jonson here ridicules Daniel's love-poetry, for it will be 
 shown that Master Mathew was meant for Daniel. Mathew 
 and Downright could not agree, and the " hanger " that Mathew 
 thought "most peremptory beautiful, and gentlemanlike" was 
 pronounced by Downright " the most pied and ridiculous that 
 ever he saw,"^ a statement in which we have a criticism of 
 Daniel's taste. 
 
 Daniel's language is evidently ridiculed by Mathew's expres- 
 sion, " un-in-one-breath-utterable skill." ^ One of the first 
 direct attacks on Daniel is contained in the following passage : 
 
 Mat. Oh, its your only fine humour, sir ; your true melancholy breeds your 
 perfect fine wit, sir. I am melancholy myself, divers times, sir, and then do 
 I no more but take pen and paper, presently, and overflow you half a score, 
 or a dozen of sonnets at a sitting. 
 
 E. Know. Sure he utters them then by the gross. \^Aside. 
 
 Step. Truly, sir, and I love such things out of measure. 
 
 E. Know, r faith better than in measure, I'll undertake. 
 
 Mat. Why, I pray you, sir, make use of mv study, it 's at your service. 
 
 Step. I thank you, sir, I shall be bold, I warrant you ; have you a stool 
 there, to be melancholy upon.^ 
 
 Mat. That I have, sir, and some papers there of mine own doing, at idle 
 hours, that you '11 say there 's some sparks of wit in 'em, when you see them. 
 
 Well. Would the sparks would kindle once, and become a fire amongst 
 them ! I might see self-love burnt for her heresy. [As/de.'^ 
 
 Mathew's poems are again ridiculed (IV. i) in a passage in 
 which he is charged with plagiarism: — 
 
 1 The folio altered this to " turtle-billing lovers." 
 
 2 I. 4. ^l. 4. * III. I. 
 
EVERY MAN IN HIS HUMOUR. 
 
 27 
 
 Brid. Servant, in troth, you are too prodigal 
 
 Of your wit's treasure, thus to pour it forth 
 Upon so mean a subject as my worth. 
 
 Mai. You say well, mistress, and I mean as well. 
 
 Down. Hoy-day, here is stuff ! 
 
 Well. O, now stand close ; pray heaven, she can get him to read ! he 
 should do it of his own natural impudency. 
 
 Brid. Servant, what is this same, I pray you ! 
 
 Mat. Marry, an elegy, an elegy, an odd toy — 
 
 Down. To mock an ape withal ! O, I could sew up his mouth now. 
 
 Dajne K. Sister, I pray you, let 's hear it. 
 
 Down. Are you rhime-given too? 
 
 Mat. Mistress, I '11 read it, if you please. 
 
 Brid. Pray you do, servant. 
 
 Down. O, here 's no foppery ! Death ! I can endure the stocks better. 
 l^Exit. 
 
 E. Know. What ails my brother } Can he not hold his water at read- 
 ing of a ballad .? 
 
 Well. O, no ; a rhime to him is worse than cheese, or a bagpipe ; but 
 mark ; you lose the protestation. 
 
 Mat. " Rare creature, let me speak without offence, 
 
 Would God my rude words had the influence 
 To rule thy thoughts, as thy fair looks do mine, 
 Then shouldst thou be his prisoner, who is thine." 
 E. Know. This is in Hero and Leander. 
 Well. O, ay ; peace ! we shall have more of this. 
 Mat. " Be not unkind and fair : misshapen stuff 
 
 Is of behaviour boisterous and rough." 
 Well. How like you that sir .? {^Master Stephen shakes his head. 
 E. Know. 'Slight, he shakes his head like a bottle, to feel an there be 
 any brain in it. 
 
 Mat. But observe the catastrophe, now : 
 
 " And I in duty will exceed all other, 
 As you in beauty do excel Love's mother." 
 E. Know. Well, I '11 have him free of the wit-brokers, for he utters noth- 
 ing but stolen remnants. 
 Well. O, forgive it him. 
 
 E. Know. A filching rogue, hang him ! and from the dead ! its worse 
 than sacrilege. 
 
28 THE WAR OF THE THEATRES. 
 
 This is a severe criticism of Mathew's methods of writing 
 poetry, especially as he is made to claim that he wrote the 
 verses " r,r tempore'' that morning. 
 
 Hero and Leander, completed by Chapman, was first pub- 
 lished in 1 598, the year in which Every Man in his Humour 
 was produced. Sestiads I. and II., the portion written by Mar- 
 lowe, had been printed in 1593. Mathew has not quoted the 
 lines correctly, but by this Jonson probably meant to indicate 
 that Daniel, in making use of another man's work, did change 
 it somewhat. Marlowe wrote : — 
 
 Fair creature, let me speak without offence : 
 
 I would my rude words had the influence 
 
 To lead thy thoughts, as thy fair looks do mine ! 
 
 Then shouldst thou be his prisoner, who is thine. 
 
 Be not unkind and fair : misshapen stuff 
 
 Are of behaviour boisterous and rough. 
 
 And I in duty will excel all other 
 
 As thou in beauty dost exceed Love's mother.^ 
 
 The chief attack on Daniel in this play remains to be 
 noticed. It is in the last act, beginning in the folio with 
 Clement's words : — 
 
 A poet ! I will challenge him myself presently at ex tempore. 
 
 The quarto text differs greatly from the folio in this act. 
 The scene in the quarto is as follows : — 
 
 Musca. Marry, search his pocket sir, and thele shew you he is an author 
 sir. 
 
 Clement. Die mihi musa virum. Are vou, are vou an autlior sir, give 
 me leave a little, come on sir, I '11 make verses with you now in honor of 
 the gods, and the goddesses for what you dare call ex tempore j and now I 
 beginne — 
 
 "Mount the my Phlegon muse, and testifie, 
 .How Saturne sitting in an ebon cloud 
 
 1 Hero (Did LcaiKter, Sestiad T. 
 
EVERY MAN IN HIS HUMOUR. 29 
 
 Disrobed his podex white as ivorie, 
 
 And through the welkin thundered all aloud." 
 There 's for you sir. 
 
 Prospero. Oh, he writes not in that height of stile. 
 Clement. No ; weele come a steppe or two lower then — 
 " From Catadupa and the bankes of Nile 
 
 Where onely breedes your monstrous crocodile, 
 
 Now are we purpos'd for to fetch our stile." 
 Prospero. Oh too farre fetcht for him still Maister Doctor. 
 Clement. I, say you so, lets entreat a sight of his vaine then. 
 Prospero. Signior, Maister Doctor desires to see a sight of your vaine, 
 nay you must not denie him. 
 
 Clement. What ! al this verse, body of me he carries a whole realme, a 
 commonwealth of paper in his hose, lets see some of his subjects. 
 "Unto the boundlesse ocean of thy bewtie, 
 
 Runnes this poore river, charg'd with streames of zeale, 
 
 Returning thee the tribute of my dutie ; 
 
 Which here my love, my youth, my plaints reveale." 
 Good ! is this your own invention ? 
 
 Matheo. No sir, I translated that out of a booke called Delia. \ 
 Clement. Oh, but I wolde see some of your owne, some of your owne. 
 Matheo. Sir, heres the beginning of a sonnet I made to my mistresse. 
 Clement. That, that ! who.'' to Madonna Hesperida, is she your mistresse.'' 
 Prospero. It pleaseth him to call her so, sir. 
 
 Clement. " In Sommer time when Phoebus golden rayes." You trans- 
 lated this too? did you not.'' 
 
 Prospero. No, this is invention, he found it in a ballad. 1 
 Matheo. Fayth sir, I had most of the conceite of it out of a ballad indeede. 
 Clement. Conceite, fetch me a couple of torches, sirrha. 1 may see the 
 conceite, quickly ; its very darke ! 
 
 The ridicule of Matheo consists chiefly in calling him a plagia- 
 rist. Daniel's Sonnet I. to Delia is in the quarto quoted cor- 
 rectly, and it is said to have been " translated . . . out of a 
 booke called Delia.'' In the folio text Jonson does not mention 
 the "booke called Delia'' and has altered the lines to read 
 thus : — 
 
 1 Note the play on the meaning of the Latin iiivenire, to find. 
 
30 THE WAR OF THE THEATRES. 
 
 Unto the boundless ocean of thy face 
 
 Runs tliis poor river, charged with streams of eyes. 
 
 At which Edward Knowell exclaims : — 
 
 A parody ! a parody ! with a kind of miraculous gift to make it absurder 
 than it was. 
 
 Clement then burns the whole batch of Mathew's poems, and 
 Knowell calls his son's attention to the fate of poets, where- 
 upon Lorenzo Junior, in the quarto, utters his defence of poetry, 
 from which Edward Knowell, in the folio, says that he has been 
 "saved." The burning of Mathew's poems is the most impor- 
 tant incident in the closing scene of the play, a fact which 
 impresses the reader strongly with the idea that the play was 
 especially aimed at the man who was represented in the 
 character of Master Mathew. That Samuel Daniel was the 
 man held up to ridicule there can be no doubt when we firfd 
 his Sonnet I. to Delia quoted as being absurd. The fact that 
 Mathew utters lines from other poets also affects in no way the 
 certainty of the conclusion that he represented Daniel, for we 
 are told several times that he was a plagiarist, and the author 
 of The Return from Parnassus, 1 60 1-2, while praising Daniel, 
 joins to his praise a substantial repetition of Jonson's charge : 
 
 Sweete hony dropping D : ^ doth wage 
 Warre with the proudest big Italian, 
 That melts his heart in sugred Sonnetting. 
 Onely let him more sparingly make use, 
 Of others wit, and use his owne the more : 
 That well may scorne base imitation.^ 
 
 1 In the quarto, Daniel is spoken of by his initials only, in the passage in which 
 the poets are "censured." The others, Constable Lodge and Watson, are men- 
 tioned by name. The Rehirnfrom Par)iassus, ed. Arber, p. ii. 
 
 - My colleague, Dr. Homer Smith, calls attention to the fact that, in the lyrical 
 poems appended to the sonnets to Delia, XXXVIII., beginning "O happy golden 
 age ! " is little more than a translation of a chorus in Tasso's Aminta. 
 
III. 
 
 HISTRIOMASTIX AND THE CASE IS ALTERED. 
 
 The first attack on Marston by Jonson is found in Every 
 Man out of his Humour. Two characters, Clove and Orange, 
 are introduced for the sole purpose of " talking fustian " and 
 of ridiculing certain unusual words used by Marston in T/ie 
 Scourge of Villanie and Histriomastix ; ^ the latter is mentioned 
 by name,^ and, as such mention amounts to ridicule, we are led 
 to examine the play with care to see what there may be in it of 
 a nature to anger Jonson. 
 
 Histriomastix, as we have it, seems to be based on an older 
 play, the purpose of which was to show how the pursuit of 
 learning was neglected by the people, who preferred other 
 pleasures. The character in it who defends the pleasures of 
 learning is Chrisoganus ; and in reading the play we find many 
 things in which the scholar, Chrisoganus, resembles Ben Jon- 
 son. There is in the play a severe attack on some playwright 
 in the person of Posthast. 
 
 There are two theories concerning the authorship of this 
 play. The usually accepted theory, advanced and supported 
 by Simpson, is thus stated : " The drama, as it has come to us, 
 is manifestly the work of two hands and of two times. This 
 is proved both by the confusion of the sub-play in Act II., and 
 by the alternative endings of the play. As originally written, 
 
 ^ Under the general heading " Unknown Authors," Langbaine has this entry: 
 "Histriomastix, or The Player Whipt ; printed quarto, London 1610. This play 
 was writ in the time of Queen Ehzabeth tho' not printed till afterwards ; as appears 
 by the last speech spoken by Peace to Astraea, under which name the Queen is 
 shadowed." An Account of the English Dramatick Poets, 1691, p. 532. 
 
 "^ Every Alan out of his Humour, III. i. The passage is discussed below. 
 
32 THE WAR OF THE THEATRES. 
 
 the sub-play was that of the Pivdigal Child ; as it stands now, 
 we have both the orighial sub-play and another perfectly dis- 
 tinct one on Troilus and Cressida foisted in on its shoulders."^ 
 "The author of the new additions to the play is clearly Mar- 
 ston. His unmistakable swagger begins to appear in Act II., 
 where he begins to transmute the academic philosopher, 
 Chrisoganus, of the old play, into the poet-scholar Chrisoganus 
 of the new."^ 
 
 Simpson tries to show by a course of reasoning, the results of 
 which do not concern us especially here, that the play in its 
 original form was probably written by Peele at a date some- 
 where near 1590, and that "it was an academical exercise for 
 young men at the universities or for schoolboys to act."^ 
 
 The second theory concerning the authorship of Histrioinas- 
 tix is that of Mr. Fleay, who apparently considers Marston the 
 sole author of the play in its original form and in the form in 
 which we have it.'* 
 
 The confusion between the characters Fourcher and Voucher 
 (in IV. I and VI. 3) and the two endings of the play indicate 
 alterations in the original form to adapt it for court perform- 
 ance. 
 
 It is perfectly clear that Ben Jonson was offended at the play, 
 and that Marston is responsible for its extant form, containing, 
 as it does, many words and phrases at which Jonson directed 
 the shafts of his ridicule. Jonson's ridicule, in Every Man out 
 of his HiDHOHj; of Marston's vocabulary used in Histrioviastix 
 and The Scourge of Villanie is the first direct reply to Marston's 
 ridicule of Jonson's "new-minted epithets." 
 
 Jonson's attack on Histriomastix in Evejy Man out of his 
 Hunionr in 1599 establishes an upper limit for the date of 
 
 ^ The School of Shaks/>ere, II. 3. 
 
 " ilnd., p. 4. 3 iliiJ., pp. 9-14. 
 
 ■* Chronicle of the Eni^lish Drama, II. 72. 
 
HISTRIOMASTIX AND THE CASE IS ALTERED. 33 
 
 Histrioinastix. Since Marston is spoken of, Sept. 28, 1599, by 
 Henslowe as "the new poete," ^ the date of Marston's share in 
 Histriomastix cannot be much earlier than that year. The 
 date is probably i 599, before Jonson's play. " All the indica- 
 tions of date agree with this, and the year being thus settled, 
 the fear of Spanish invasion (' the Spaniards are come,' V. 4) 
 would seem to fix the very month of production, for it was in 
 August that this dread was excited." ^ 
 
 Critics have been practically unanimous in the opinion that 
 Jonson is represented by Chrisoganus, for the general character 
 of the scholar-poet agrees closely with what we know of Jonson. 
 That Marston intended the representation to be satirical is by 
 no means certain, and Mr. Fleay may be correct in his opinion 
 that Marston " meant to compliment Jonson, not to abuse him ; 
 and the indirect compliment to the man who had been rejected 
 by the strollers, and was now poet to the chief company in 
 London, second only to Shakespeare, was as delicate as it was 
 deserved." '^ 
 
 Chrisoganus is a scholar who cares not for the opinion of the {[ 
 multitude. He is also a poet, and on offering to write for the 
 new company of players. Sir Oliver Owlet's men, is rejected. 
 
 iLent unto Wm. Borne, the 28 of septembr 1599, to lend unto Mr. Maxton, 
 
 the new poete (Mr. Mastone), in earneste of a Boocke called , the some of 
 
 xxxx s. Henslowe'' s Diary, p. 1 56. 
 
 2 The most interesting addition that Mr. Fleay has made to our knowledge of 
 this play is the result of his argument as to the company by whom this play was 
 performed at court. The alternative ending, in which Astraea personates the 
 Queen enthroned, shows that the play was performed at court. Mr. Fleay says : 
 "The only companies who performed at court in 1 599-1600 were the Chamber- 
 lain's, the Admiral's, and Derby's. The plays by the Admiral's men were For- 
 tiinatus and The Shoefnaker's Holiday. This one [Histriotnastix] could not have 
 been acted by the Chamberlain's men, as it is satirized by Jonson in a Chamber- 
 lain's play. It was therefore necessarily that acted by Derby's men, who at this 
 time occupied the Curtain from which another company had been ousted and 
 driven to travel." Chronicle of the English Drama, II. 70. 
 
 3 Chronicle of tlh' English Drama, II. 71. 
 
34 THE WAR OF THE THEATRES. 
 
 and the position is given to Posthast.^ Simpson thought that 
 Posthast was Shakespeare, and Sir Oliver Owlet's men the 
 Chamberlain's company .^ An attempt has been made recently 
 to prove Simpson's hypothesis.^ If Posthast is Shakespeare, 
 then it is impossible for Chrisoganus to be Jonson, for we 
 should have Chrisoganus (Jonson) rejected aS writer by 
 Sir Oliver Owlet's men (the Chamberlain's company) at the 
 very time that Jonson was actually writing for the Chamber- 
 lain's company, by whom his plays* which immediately preceded 
 and followed Histrioviastix were performed. If Posthast is 
 Shakespeare, then Chrisoganus is probably Marston himself, an 
 hypothesis for which there is evidence. 
 
 While the general attitude of Chrisoganus towards public 
 opinion is similar to that of Jonson, there is no passage in the 
 play which has been proved to be a definite and unmistakable 
 allusion that will apply to Jonson and to no one else. There 
 is no allusion to any of Jonson's works except the possible 
 allusion to his translations and epigrams in a passage which is 
 almost equally applicable to Marston. The passage is — 
 
 Chrisoganus. O did you but your own true glories know, 
 
 Your judgments would not then decline so low ! 
 
 Philarchus. What ! Master Pedant, pray forbeare, forbeare. 
 
 Chrisogatiits. Tis you my Lord that must forbeare to erre. 
 
 Phila)xhus. Tis still safe erring with the multitude. 
 
 Chrisoganus. A wretched morall ; more than barbarous rude. 
 
 Mavortitis. How you translating-scholler? You can make 
 A stabbing Satir or an Epigram, 
 And thinke you carry just Ramnusia's whippe. 
 To lash the patient ; goe, get you clothes, 
 Our free-borne blood such apprehension lothes.^ 
 
 ^ Histrioniastix, III. 
 
 2 The School of Shakspere, II. ii ; also p. 89. 
 
 3 The American Journal 0/ Philology, XVI. 3, article by Professor Henry Wood 
 of Johns Hopkins University, Shakespeare burlesqued by two Fellow Dramatists. 
 
 * Every Man in his Humour, 1598, and Every Man out of his Humour, 1599. 
 ^ Histriomastix, II. 11. 57-67. 
 
HISTRIOMASTIX AND THE CASE IS ALTERED. 35 
 
 The tone of Chrisoganus' remarks is certainly that of Jonson, 
 and the allusion to his poverty, " goe, get you clothes," is one 
 of the regular forms of attack on Jonson. The " translating- 
 scholler" who "can make a stabbing Satir, or an Epigram" 
 may be Jonson, to whom the words are peculiarly applicable. 
 In Poetaster (IV. i) Demetrius (Dekker) mentions, as the chief 
 offences of Horace (Jonson), " his arrogancy and his impudence 
 in commending his own things" and "his translating." Jon- 
 son left numerous translations, and that he prided himself on 
 them is shown by his mention of them in several passages ^ in 
 the Conversations zvith Drummond, who says of Jonson, "but 
 above all he excelleth in a translation." ^ 
 
 Marston seems to have no claim to the title " translating- 
 scholler," but when we read the line, " And thinke you carry 
 just Ramnusia's whippe," we are reminded of Marston's 
 Scourge of Villanie, in which the first Satire boldly announces 
 in its first line : — 
 
 I bear the Scourge of just Ramnusia.^ 
 
 This certainly seems to connect Chrisoganus with Marston. 
 Apart from this, which may be merely a general reference to 
 Chrisoganus as a satirist, everything points to Jonson rather 
 than to Marston as the man represented. As Simpson remarks, 
 Horace (Jonson) in Poetaster is expressly " made a satirist, and 
 in the very title of Satiromastix is termed so, while in its scenes 
 
 ^Jonson's Conversations with Drummond, pp. 2, 5, 6, 29. 
 
 '^ibid., p. 4i- 
 
 3 It is possible that this may refer to Jonson, although there is no passage m 
 Every Man in his Humour to which it is an allusion. Dekker in Satiromastix 
 (1601) makes Crispinus say of Horace, " he calles himselfe the whip of men," m 
 allusion, probably, to the following lines in the Induction to Every Man out 0/ his 
 
 Humour : — 
 
 I '11 strip the ragged follies of the time 
 
 Naked as at their birth — and with a whip of steel, 
 
 Print wounding lashes in their iron ribs. 
 
36 
 
 THE WAR OF THE THEATRES. 
 
 he flings about his epigrams."^ If Chrisoganus is Jonson, Mr. 
 Fleay's suggestion that the high-minded old scholar is a com- 
 plimentary representation gains great weight from the following 
 evidently sincere reply of Mavortius : — 
 
 Chrisoganus. Follow, and He instruct you what I can. 
 Mavortius. We followed beasts before, but now a man."'^ 
 
 A passage which is, with some show of reason, thought to 
 refer to Jonson is the following, in which the players are bar- 
 gaining with Chrisoganus for a play, with the result that he is 
 rejected and Posthast retained as poet of the company : — 
 
 Belch. 
 
 Chrisoganus. 
 Gulch. 
 Chrisoganus . 
 
 Clout. 
 
 Gut. 
 
 Chrisoganus. 
 
 Chrisoganus, faith, what's the lowest price.'' 
 You know as well as I ; tenne pound a play. 
 Our companie's hard of hearing of that side. 
 And will not this booke passe ? alasse for pride 
 I hope to see you starve and storme for books ; 
 And in the dearth of rich invention. 
 When sweet smooth lines are held for pretious, 
 Then will you fawne and crouch to Poesy. 
 Not while goosequilhan Posthast holds his pen. 
 Will not our own stuffe serve the multitude ? 
 Write on, crie on, yawle to the common sort 
 Of thick-skin'd auditours such rotten stuffs, 
 More fit to fill the paunch of Esquiline 
 Than feed the hearings of judiciall eares. 
 Yee shades, triumphe, while foggy Ignorance 
 Clouds bright Apollos beauty ! time will cleere 
 The misty dulnesse of .Spectators eyes : 
 Then woeful hisses to your fopperies ! 
 O age when every Scriveners boy shall dippe 
 Profaning quills into Thessaliaes spring ; 
 When every artist prentice that hath read 
 The pleasant pantry of conceipts shall dare ^ 
 To write as confident as Hercules : 
 When every ballad-monger boldly writes 
 
 1 The School of Shakspere, II. 4. 
 "^ Histriomastix, \l. 11. 13S-9. 
 
HISTRIOMASTIX AND THE CASE IS ALTERED. 3/ 
 
 And windy forth of bottle-ale doth fill 
 
 Their purest organ of invention 
 
 Yet all applauded and puft up with pride, 
 ' Swell in conceit, and load the stage with stuff 
 Rakt from the rotten imbers of stall jests ; 
 Which basest lines best please the vulgar sense, 
 Make truest rapture lose preheminence ! 
 
 Belch. The fellow doth talke like one that can talke. 
 
 Gut. Is this the well-learn'd man Chrisoganus? 
 
 He beats the ayre the best that ere I heard. 
 
 Chrisoganus. Ye scrappes of wit, base Ecchoes to our voice, 
 Take heed ye stumble not with stalking hie, 
 Though fortune reels with strong prosperity.^ 
 
 The tone of this is undeniably that of Jonson. Simpson says : 
 ♦'A study of Henslowe's diary will show that before 1600 the 
 highest price ever paid by him was eight pounds or nine pounds. 
 The usual price varied from four pounds to six pounds. Jon- 
 son was the first to charge ten pounds. It was for Richard 
 Crookback, about 1600."^ This statement is not, however, 
 accurate, for the date was not 1600, but 1602, and the ten 
 pounds was not for a single play but for a new play and altera- 
 tions to an old one. Henslowe's entry is — 
 
 Lent unto bengemy Johnsone, at the apoyntment of E. Alleyn and Wm. 
 Birde, the 24 of June 1602, in earneste of a boocke called Richard crock- 
 backe, and for new adicyons for Jeronymo, the some of X li.^ 
 
 The speech of Chrisoganus, made as it is to Posthast and 
 his players, and referring to the plays written by Posthast, is 
 a distinct echo of Jonson's own accusations against Anthony 
 Monday, as Antonio Balladino, in T/ie Case is Altered, I. i 
 (1598). Onion says of the well-known verse " My mind to me 
 a kingdom is," " 'T is somewhat stale," and Antonio replies. 
 
 ^ Histriomastix,\\\. 11. 179-215. 
 2 The School of Shakspere, II. 6. 
 ^ Henslozve's Diary, p. 223. 
 
38 THE WAR OF THE THEATRES. 
 
 " Such things are like bread, which, the staler it is, the more 
 wholesome. . . . I do use as much stale stuff, though I say- 
 it myself, as any man does in that kind, I am sure. Did you 
 see the last pageant I set forth .-' " Antonio will not write " new 
 tricks" and "nothing but humours; indeed, this pleases the 
 gentlemen, but the common sort they care not for 't ; they know 
 not what to make on 't ; they look for good matter, they, and 
 are not edified with such toys." "Tut, give me the penny, 
 giveme the penny, I care not for the gentlemen." 
 
 Chrisoganus tells Posthast to " Write on, crie on, yawle to 
 the common sort of thick-skin'd auditours" and "load the stage 
 with stuff rakt from the rotten imbers of stall jests : which 
 basest lines best please the vulgar sense." 
 
 , That Anthony Monday was satirized in Antonio Balladino is 
 proved beyond the possibility of doubt by the fact that Anto- 
 nio Balladino is " pageant poet to the city of Milan," and is 
 " in print already for the best plotter." Anthony Monday was 
 pageant poet to the city of London from 1605 to 1623, and, 
 although the pageants from 1592 to 1604 '^re missing, it is the 
 generally received opinion that Anthony Monday wrote them.^ 
 Meres, in Palladis Tamia, mentions " Anthony Mundye, our 
 best plotter." 2 It is to this statement that Jonson refers in 
 
 TJie Case is Altered. 
 
 Anthony Monday is probably the man represented in His- 
 triomastix by Posthast, a character which agrees in so many 
 particulars with Antonio Balladino in Jonson's play. Marston's 
 
 '^History of Lord Mayor'' s Pageants, Fairholt, Percy Society, p. 32. 
 
 " PalladisTaniia, Haslewood ; English Poets and Poesy, II. 154. Jonson's allu- 
 sion to Meres shows that The Case is Altered is of date later than Sept. 7, 1598, 
 at which time Palladis Tamia was entered .S. R. Nashe, in Lenten Stiiffe [Naske, 
 ed. Grosart, V. 299) entered S. R. Jan. 11, 1599, mentions "the merry cobler's 
 cutte in that witty play of Tlte Case is Altered." It is thus possible that The Case 
 is Altered is the earliest extant play of Jonson, for it certainly antedates Every 
 Alan out of his Humour and possibly Every Man in his Ifumour, though the latter 
 is not likely. 
 
HISTRIOMASTIX AND THE CASE IS ALTERED. 39 
 
 attack on Monday as Posthast will explain the hostility between 
 Carlo (Marston) and Puntarvolo (Monday) in Every Man out of 
 his Humour, which results in Puntarvolo's sealing up Carlo's 
 mouth ; ^ and that between Anaides (Marston) and Amorphus 
 (Monday) in Cynthia s Revels. 
 
 In the Apologetical Dialogue appended to Poetaster, Jonson 
 speaks of having been provoked by his enemies " with their 
 petulant styles on every stage." If we take the word " styles " 
 here as referring to manner of composition, we may suppose 
 that the striking resemblance between the speech of Chris- 
 oganus^ and the opening speech of Macilente^ is the result of 
 an attempt, on the part of Jonson, to show Marston how that 
 kind of a speech should be written. Both speeches begin with 
 a line of Latin and continue with a comment on the sentiment 
 expressed. 
 
 There remains to be noticed a piece of indirect evidence 
 going to prove that Chrisoganus is Jonson. In the Conversa- 
 tiojis zvith Dnunmond, Jonson is reported to have said that — 
 
 He had many quarrells with Marston, beat him, and took his pistol from 
 him, wrote his Poetaster on him ; the beginning of them were, that Mar- 
 ston represented him in the Stage, in his youth given to venerie. He thought 
 the use of a maide nothing in comparison to the wantoness of a wyfe and 
 
 ^ Every Man out of his Ihtinottr, V. 4. 
 
 ^ Histriomastix, IV. 1. 132. 
 
 Chrisoganus (alone). Sumvia petit livor, perflafit altissima venti. 
 Then, poor Chrisoganus, who '11 envy thee. 
 Whose dusky fortunes hath no shining gloss 
 That Envy's breath can blast ? O I could curse 
 This idiot world, this ill-nurst age of Peace, etc. 
 
 ^ Every Man out of his Humour, I. i. 
 
 Macilentc (alone). Virt est, fortiinae caecitatem facile ferre. 
 'Tis true: but Stoic, where in the vast world. 
 Doth that man breathe, that can so much command 
 His blood and his affection ? W^ell I see 
 I strive in vain to cure my wounded soul, etc. 
 
40 THE WAR OF THE THEATRES. 
 
 would never have ane other mistress. He said two accidents strange befell 
 him : one, that a man made his own wyfe to court him, whom he enjoyed two 
 years ere he knew of it, and one day finding them by chance, was passingly 
 delighted with it : ^ 
 
 Mr. Fleay is the only critic that has offered any explanation of 
 the representation of Jonson by Marston as " given to venerie," 
 and his explanation is \\\diX. Jack Drum is the play, and Monsieur 
 John fo de King the character representing Jonson."^ The first 
 of the '* accidents strange '/ mentioned by Drummond corre- 
 sponds almost exactly with an incident in the career of Mon- 
 sieur John fo de King.-'^ We are met with difficulties, however, 
 if we consider this character to be the representation on the 
 stage which was " the beginning " of the quarrels, for the play 
 Jack Drjini is admitted by all commentators to have been per- 
 formed in 1600,* the year after Jonson's attack on Marston in 
 Every Man out of his Humour. Jack Drum, therefore, cannot 
 be "the beginning" of the quarrel, in spite of the apparent 
 agreement with the statement made by Jonson to Drum- 
 mond. 
 
 A very simple solution of the difficulty concerning Marston's 
 representation of Jonson which was "the beginning" of the 
 quarrel, is obtained by merely transposing two punctuation 
 marks in the passage from Drummond quoted above. Place a 
 period after "stage" and a comma after "venerie" and read 
 the passage thus : — 
 
 . . . the beginning of them were that Marston represented him in the 
 stage. In his youth, given to venerie, he thought the use of a maide noth- 
 ing in comparison to the wantoness of a wyfe, etc. 
 
 ^ Joiison^s Conversations with Dritmmoitd, p. 20. The passage is here given as 
 printed by Laing. 
 
 2 Chronicle of the English Drama, II. 74. 
 
 3 Jack Drum, V. 1. 299 to end of Act. 
 
 * The School of Shakspere, Simpson, II. 127 ; Chronicle of the English Drama, 
 Fleay, II. 72. 
 
HISTRIOMASTIX AND THE CASE IS ALTERED. 4 1 
 
 When once this change has been made, its necessity is so 
 obvious that we are doing no violence to the passage in an 
 attempt to prove a theory. ^ 
 
 Having shown that Jack Drum, while probably satirizing 
 Jonson as Monsieur John fo de King, is too late to have been 
 " the beginning" of the quarrel, we are forced to look for the 
 first representation of Jonson by Marston "in the stage" in 
 an earlier play, which can be no other than Histrioviastix. 
 The only character in Histriomastix that can be Jonson is 
 Chrisoganus. There are so many indications of the cor- 
 rectness of this identification, that although no one thing 
 proves it, yet the cumulative evidence may be accepted as 
 conclusive. 
 
 The title of Histriomastix indicates that the object of the 
 play was an attack on Posthast the poet. Allusion has been 
 made to the two theories concerning the identity of Posthast, 
 and some evidence has been adduced to prove that Anthony 
 
 ^ The passage with its new punctuation is similar in structure to other passages 
 as recorded by Drummond, who frequently began a sentence with a participial con- 
 struction. These are instances : — 
 
 "Being at the end of my Lord Salisburie's table with Inigo Jones, and de- 
 manded by my Lord, Why he was not glad ? My Lord, said he, etc." Jonson's 
 Conversations with Drtiminomi, p. 22. 
 
 " Ben one day being at table with my Lady Rutland, her husband comming in, 
 accused her that she keept table to poets, etc." Ibid., p. 24. 
 
 It is entirely possible that a change in punctuation was made inadvertently by a 
 copyist in transcribing the manuscript from which Laing printed Drummond's 
 " notes," and when we consider that this manuscript was itself a transcript and 
 not the original writing of Drummond, there seems every probability that the new 
 punctuation suggested gives the meaning that Drummond intended. For an 
 account of the way in which Drummond's notes have come down to us, see the 
 Preface to Laing's edition, pp. 21-23. 
 
 Mr. Fleay quotes in two places (in his Chronicle of the Ejit^lish Drama, IL 71, 
 74) the passage from Drummond, the first time without comment, as if it were 
 punctuated, as it has been suggested that it should be. with a period after " stage " ; 
 the second time, as punctuated by Laing. 
 
42 THE WAR OK THE THEATRES. 
 
 Monday was the man attacked. Mr. Fleay gives further 
 reasons for the identification of Posthast with Monday.^ 
 
 The identification of Posthast with Shakespeare, proposed 
 by Simpson, has been advocated recently by Professor Henry 
 Wood of Johns Hopkins University, in an article to which 
 reference has been madc.^ Only his conclusions need be men- 
 tioned here. Agreeing with Simpson, that Posthast is Shake- 
 speare, and therefore " Sir Oliver Owlet's men " the Chamber- 
 lain's company, Professor Wood brings forward some interesting- 
 evidence to show that the plays of Posthast, the titles of which 
 are TJic Prodigal Child, The Lasciviojis Knight and Lady Nature, 
 Troilns and Cressida, and an unnamed play,^ are burlesques 
 of Shakespeare's Henry IV., Sir John Falstajf and the Merry 
 Wives of I Vi n ds r (tha original title), Troilns and Cressida, and 
 Henry V. Resemblances, parodied lines, burlesqued allitera- 
 tions are given to prove the hypothesis that Posthast is Shake- 
 speare. We have already pointed out what seems to us an 
 insuperable objection to any identification of Posthast and Sir 
 Oliver Owlet's men with Shakespeare and the Chamberlain's 
 
 J " [Derby's men] at this time occupied the Curtain from which another com- 
 pany had l)een ousted and driven to travel. The shareholders among these latter, 
 there is little doubt, were Kempe, Keeston, Duke, and Pallant, who had just left 
 the Chamberlain's men, and this company is, I think, satirized in Histriomastix. 
 The poet who accompanies them is a ' pageanter ' (IV. 3) ; has been a ballad- 
 writer (V. 2, VI. 5) ; ought to be employed in matter of state (II. 2) ; is great in 
 plotting 'new ' plays that are old ones (II. 2) ; and uses ' no new luxury or l)land- 
 ishment, but plenty of Old England's mother words.' He is certainly Anthony 
 Monday. 
 
 " Posthast, like Monday, can sing ex tcvipore (II. 4) ; but Iiis principal Inisinessis 
 to refasliion other men's plays, such as The Prodii^at Sou . . . and Troilns and 
 Cressida (from Dekker and Chettle's play of i 599). The allusion ' when he shakes 
 his furious spear ' in this latter (II. 4) cannot, unfortunately, be fully explained, 
 as the Dekker play is not extant ; but it probably refers to sometliing therein 
 anent .Shakespeare's drama on the subject in its earlier form." Chronicle of the 
 English Drama, II. 70, 71. See also History of the Stage, pp. 137, 138, 158. 
 
 ^ See, above, p. 34, note. 
 
 ^ I/istriotnastix, II. 
 
HISTRIOMASTIX AND THE CASE IS ALTERED. 43 
 
 company. If Chrisoganus is Jonson, and it seems impossible 
 to avoid the conclusion that he is, then Posthast is not Shake- 
 speare, because Jonson was writing for the Chamberlain's men 
 at the very time at which Chrisoganus was rejected by Post- 
 hast's company. Apart from this consideration there are other 
 difficulties to be disposed of before we can believe that Post- 
 hast is Shakespeare. What we are told of Posthast agrees in 
 almost no particulars with what we know of Shakespeare. We 
 shall have to prove the identification on the principle Incus a 
 non lucendo, or invent a new principle, that burlesque proceeds 
 by contraries. Of course, the latter might, in exceptional in- 
 stances, be the case, but only when there was special reason 
 for such treatment of a subject or person. On this principle, 
 then, we might explain the fact that Posthast is a "gentleman- 
 scholar" ^ as referring to Shakespeare, who was neither the 
 one nor the other. Posthast is carefully distinguished from 
 the actors, whereas Shakespeare was an actor. While the evi- 
 dence is, to say the least, unsatisfactory for any identification 
 of Posthast with Shakespeare, the facts in the case apply almost 
 without exception to the career of Anthony Monday. When 
 Posthast sings ex tempore and Landulpho "blushes at the " base 
 trash" sung, 2 we are reminded that Anthony Monday was 
 notorious for having sung ex tempore and having been hissed 
 off the stage, facts which we learn from the author of The True 
 Reporte of the Death and Martyrdom of Thomas Campion, 
 I 581. What evidence has been found for the identification of 
 Posthast is given by the critics referred to, Simpson, Mr. Fleay, 
 and Professor Wood. We are especially concerned with His- 
 triomastix only so far as it affects Jonson, and thus enters into 
 " The War of the Theatres." 
 
 '^ Histriomastix, II. 1. 209. 
 ^ibid.,U. 11. 304. 322- 
 
IV. 
 
 EVERY MAN OUT OF HIS HUMOUR. 
 
 Carlo Buffone, a satirical representation of Marston in 
 Every Man out of his Humour, is Jonson's reply to Marston's 
 representation of him as Chrisoganus in Histriomastix. Jonson 
 had, by his former plays, made enemies, against whom he wrote 
 Every Man out of his Humour} a play performed in 1599 by 
 the Chamberlain's company at the Globe Theatre. Daniel, 
 whom Jonson ridiculed as Master Mathew in Every Man in his 
 Humour, appears again as Fastidious Brisk, but it is Marston, 
 as Carlo Buffone, who now occupies the chief place in the 
 satire by being the object of the most severe attack. 
 
 When the play was published Jonson prefixed to it a brief 
 description of each character. Carlo Buffone is said to be — 
 
 A public, scurrilous, and profane jester ; that, more swift than Circe, 
 with absurd similes, wilP transform any person into deformity. A good 
 feast-hound or banquet-beagle, that will scent you out a supper some three 
 miles off, and swear to his patrons, damn him ! he came in oars, when he 
 was but wafted over in a sculler. A slave that hath an extraordinary gift 
 in pleasing his palate, and will swill up more sack at a sitting than would 
 make all the guard a posset. His religion is railing, and his discourse rib- 
 aldry. They stand highest in his respect whom he studies most to reproach. 
 
 Jonson was so bent upon lashing Marston that, at the end of 
 the Induction, Carlo is described by Cordatus as follows : — 
 
 ^That the play provoked criticism by its personal satire is clearly indicated by 
 this note in the quarto: — 
 
 " It was not neare his thought that hath published this, either to traduce the 
 Authour : or to make vulgar and cheape, any the peculiar and sufficient deserts 
 of the Actors : but rather (whereas many censures flutter'd about it) to give all 
 leave, and leisure, to judge with distinction." 
 
EVERY MAN OUT OF HIS HUMOUR. 45 
 
 He is one, the author calls him Carlo Buffone, an impudent common 
 jester, a violent railer, and an incomprehensible epicure : one whose com- 
 pany is desired of all men, but beloved of none : he will sooner lose his 
 soul than a jest, and profane even the most holy things, to excite laughter ; 
 no honourable or reverend personage whatsoever can come within the reach 
 of his eye, but is turned into all manner of variety, by his adulterate similes. 
 
 Jonson satirizes other persons, but he makes no other such 
 violent and abusive attack as this on Marston. Carlo appears 
 in the opening scene and gives advice to Sogliardo about be- 
 coming a gentleman. After a disparaging speech to Sogliardo 
 about Macilente (Jonson), whom he had not observed before, 
 Carlo turns to Macilente with " I am glad to see you so well 
 returned, Signior," to which Macilente, who had heard what 
 Carlo had said about him, replies, " You are ! gramercy good 
 Janus." Carlo says of Macilente, " An you knew him as I do, 
 you'd shun him as you would do the plague." Thus at the 
 outset the antagonism and hostility between Carlo and Maci- 
 lente are set forth prominently, and to Carlo's remark on leav- 
 ing, Macilente says to himself : — 
 
 Ay, when I cannot shun you, we will meet. 
 'Tis strange ! of all the creatures I have seen, 
 I envy not this Buffone, for indeed 
 Neither his fortunes nor his parts deserve it : 
 But I do hate him as I hate the devil. 
 Or that brass-visaged monster Barbarism. 
 O, 'tis an open-throated, black-mouthed cur, 
 That bites at all but eats on those that feed him, 
 A slave, that to your face will, serpent-like. 
 Creep on the ground, as he would eat the dust. 
 And to your back will turn the tail and sting 
 More deadly than a scorpion. 
 
 At the close of Act I. Cordatus says of Carlo that " he stood 
 possest of no one eminent gift but a most fiend-like disposition, 
 that would turn charity itself into hate, much more envy, for 
 the present." The abuse of Carlo, that has been quoted. 
 
46 THE WAR OF THE THEATRES. 
 
 might be applied to others besides Marston, but when Puntar- 
 volo addresses Carlo as " thou Grand Scourge, or Second Un- 
 truss of the Time" (II. i) we have Marston pointed out beyond 
 question ^ as appears from the following considerations : — 
 
 ^ Owing to mistaken ideas concerning Dekker's connection with "The War of 
 the Theatres," Carlo Buffone has been thought by some critics to be Dekker. 
 There are some conflicting statements on this subject in Mr. Fleay's Chrotiicle of 
 the English Drama. Mr. Fleay says ( I. 97) : " I thought that, if anything was 
 settled in criticism, it was the identity of Crispinus S^Poetaster\ and Carlo Buffone 
 with Marston." This statement is correct, but in another passage (I. 360) we 
 are told that "Carlo Buffone, 'the Grand Scourge or Second Untruss of the 
 Time' is Dekker; Marston, author of The Scourge of l'/7/a>i}', being the first 
 Untruss"; on page 363 it is stated that the characters in Cynthia^s Revels are 
 some of them repeated from those in Every Alan out of his Huvtour,^^ Awdiides 
 (Dekker) from Buffone," but neither identification here is correct, for Anaides, 
 like Buffone, is Marston, in spite of the statement on page 364, " The description of 
 Anaides (II. i) identifies him with Carlo Buffone (Dekker)." On page 368 Mr. Fleay 
 says : " The description of Demetrius \^Poetaster'\ as a rank slanderer, etc., is con- 
 clusive as to his identification with Buffone and Anaides." " Finally, note that 
 F)emetrius as much as Crispinus affected the title of Untrusser, neglect of which 
 fact has led to the common mistake in making Marston Carlo Buffone " (p. 369). 
 We find the statement made (II. 71) " Hence his [Jonson's] abuse of Marston; 
 but not as Carlo Buffone, the Grand Scourge or Second Untruss of the Time 
 (Hall being the first) ; for Carlo was Dekker." On page 75 "Anaides is ac- 
 knowledged to be Marston " although in the statement quoted above it is said that 
 " Anaides (Dekker) " is repeated from Buffone. In a letter to the writer Mr. 
 Fleay says : " I changed my opinion about Buffone when I had written about half 
 of it SjChronicle of the English Dra7Ha'\ and meant to correct the Dekker bits 
 when revising for press, but the printer did not keep to the time promised in 
 sending proofs and I had to correct many while in the country away from my book- 
 shelves. . . . The statements I. 360, I. 363, II. 71 are certainly wrong ; you are 
 right, Carlo = Anaides = Marston = Second Untruss. The point I missed was 
 that Dekker appears first in Poetaster. This belongs to you." Dekker was not 
 attacked until Jonson knew that Satiromastix was being written and that Dekker 
 had been " hired " to write it. Dekker has no claim to the title " Grand Scourge 
 or Second Untruss of the Time," although he did, in 1601, "Untruss" the 
 "Humorous Poet." Jonson had no quarrel with Dekker in 1599 when Every 
 Man ant of his Httmotir was written, in fact, Jonson was in that year collaborating 
 with Dekker in the writing of plays. Henslowe^s Diary contains records (pp. 1 55, 
 156) of payments made to Jonson and Dekker jointly Aug. 10, 1599, and to 
 Jonson, Chettle, Dekker, and "other Jentellman " Sept. 3, 1599. Critics who 
 have found Dekker involved in the "War," at its close have assumed, apparently 
 
EVERY MAN OUT OF HIS HUMOUR. 47 
 
 The Metamorphosis of Pigmalion s Image and Certaine Satyres, 
 by Marston, was entered in the Stationers' Register May 27, 
 1598 ; The Scourge of Vil/anie, by Marston, was entered 
 Sept. 8, 1598; Virgidemiarum, by Hall, was entered March 
 30, 1 598 ; 1 Seven Satyres applied to the Week, by Rankins, 
 was entered May 3, 1598. In the Stationers' Register Mars- 
 ton is the third satirist, but priority of entry does not neces- 
 sarily mean priority of publication, so that Marston's Satires 
 may not have been third in date of publication. Be that as it 
 may, the Satires of Rankins were comparatively unimportant, 
 and attracted little attention compared to the more pretentious 
 works of Hall and Marston, both of whom were " Scourgers " 
 of the time, Marston calling his book The Scourge of Villanie, 
 while Hall called his Virgidemiarum.'^ Marston was certainly 
 the second "scourge" whatever position we assign him as a 
 satirist.^ In his Prologue Hall boldly announces : — 
 
 I frst adventure, follow me who list 
 And be the second English satirist.* 
 
 without a particle of proof, that he was involved in it from the beginning, and 
 that therefore, whenever we find in Jonson's plays a character satirizing Marston, 
 we will find another character representing Dekker. We need quote here only 
 one instance of such criticism. Dr. Robert Cartwright says : "Carlo Buffone, 
 ' Thou Grand Scourge,' is of course Marston. . . . Fastidious Brisk is consequently 
 Dekker." Shakespeare and Jonsoii, Dramatic versus Wit Cofnbats, p. i6. 
 
 ' Hall published his Satires in two parts : in 1597 Virgidemiarum, Six Bookes ; 
 First Three Bookes of Toothlesse Satyrs: i. Poeticall ; 2. Academicall ; 3. Moral! ; 
 in 1598 Virgidemiarum : the Three Last Bookes of Bytitig Satyrs. 
 
 - Virga was a rod or switch, and was used of the rods with which the lictors 
 scourged criminals. Virgidemia is a comic word meaning a harvest of rods 
 or stripes. The name of Hall's work is thus equivalent in meaning to that of 
 Marston's. 
 
 ^ There were English satirists before Hall. Such satires as Hake's Newes out 
 of Paul es Churchyarde, 1567, Gascoigne's Steel Glass, 1576, and Lodge's A Fig for 
 Momus, 1595, were well known before Hall wrote. Other satirists, earlier than 
 Hall, might be mentioned. 
 
 * Hall may be entitled to some sort of priority, as his work was the first Eng- 
 lish satire in the general manner of Juvenal. 
 
48 THE WAR OF THE THEATRES. 
 
 Virgideviiarnm became popular ; and as Marston's work, simi- 
 lar in nature, appeared so soon after, it is probable that Hall's 
 lines were remembered and applied to Marston, who was recog- 
 nized generally as "the second English satirist" or "the 
 Second Untruss." In calling Carlo the " Grand Scourge or 
 Second Untruss of the Time," Jonson was using an appellation 
 which, to the audience, was almost as definite as the name 
 Marston would have been. 
 
 Puntarvolo says : " It is in the power of my purse to make 
 him [Carlo] speak well or ill of me" (II. i). Carlo is termed 
 by Fastidious "a damned witty rogue" who "confounds with 
 his similes " (II. i) ; and in several other passages Carlo's simi- 
 les are spoken of, the most important reference to them being 
 Macilente's reproof, " You'll never leave your stabbing similes " 
 (IV. 4). If we understand "simile" in its rhetorical sense, 
 we find that Marston deserves the ridicule. His first reference ' 
 to Jonson contains a comparison which is not above criticism : 
 " Torquatus . . . that like some rotten stick in a troubled water 
 hath gotte a great deale of barmie froth to stick to his sides. "^ 
 Carlo's speeches abound in similes for which he is ridiculed by 
 Fastidious in the epithet quoted above. The remark of Fas- 
 tidious is occasioned by Carlo's statement concerning Cinedo, 
 " He looks like a colonel of the Pigmies horse, or one of these 
 motions in a great antique clock" (II. i). Carlo's "vulgar 
 phrase" (Marston's works are marred by coarse language) is 
 
 Rev. Thomas Corser says : " Marston has, till very lately, been usually styled 
 the second English satirist, Bishop Hall being considered the first ; he is men- 
 tioned by Charles Fitzgeffrey as contesting the palm of priority and merit in satire 
 with Hall, in his Affaniae, or three books of Epigrams in Latin, published at 
 
 Oxford in 1601 : — 
 
 . . . Satirarum proxima primae, 
 Primaque, fas primas si numerare duas. 
 
 And he is alluded to as such by Warton and other more modern writers." Collec- 
 tanea Anglo-Poetica, IX. 13. 
 
 1 " To those that Seeme Judiciall Perusers," TIte Scourge of Villanie. 
 
EVERY MAN OUT OF HIS HUMOUR. 49 
 
 very distasteful to Fastidious. Carlo says that Deliro " looks 
 like one of the Patricians of Sparta," and Puntarvolo "looks 
 like a shield of brawn at Shrove-tide" (IV. 4). To this Maci- 
 lente replies, " Come, you '11 never leave your stabbing similes ; 
 I shall have you aiming at me with 'em by and by" (IV. 4). 
 Carlo does aim at Macilente with a simile when he speaks of 
 "lean bald-rib Macilente, that salt villain, plotting some mis- 
 chievous device and lies a soaking in their frothy humours like 
 a dry crust, till he has drunk 'em all up" (V. 4). The most 
 severe attack on Marston as a man is the repeated reference 
 to his treachery and double dealing. Marston was a gentleman 
 as regards birth, his father being a Counsellor of the Middle 
 Temple, When Sogliardo procures a coat of arms Carlo gives 
 him advice about how to conduct himself as a gentleman. 
 Jonson puts into the speech of Carlo a severe arraignment of 
 • Marston. 
 
 Carlo {to Sogliardo). Nay, look you, sir, now you are a gentleman, you 
 must carry a more exalted presence, change your mood and habit to a more 
 austere form ; be exceeding proud, stand upon your gentility, and scorn 
 every man ; speak nothing humbly, never discourse under a nobleman, 
 though you never saw him but riding to the Star Chamber, it's all one. 
 Love no man ; trust no man ; speak ill of no man to his face ; nor well of 
 any man behind his back. Salute fairly on the front, and wish them hanged 
 upon the turn. Spread yourself upon his bosom publicly, whose heart you 
 would eat in private. These be principles, think on them.i 
 
 The sentiments of this speech are repeated in the following 
 words of Carlo : — 
 
 Tut, a man must keep time in all ; I can oil my tongue when I meet him 
 next, and look with a good sleek forehead ; 't will take away all soil of sus- 
 picion, and that's enough: what Lynceus can see my heart? Pish, the 
 title of a friend ! it 's a vain idle thing, only venerable among fools ; you 
 shall not have one that has any opinion of wit affect it.^ 
 
 1 III. I. 2 IV. 4. 
 
50 THE WAR OF THE THEATRES. 
 
 We have a remarkable scene (V. 4) referring undoubtedly to 
 some actual incident, as is shown by the question of Mitis, 
 " Whom should he [Carlo] personate in this ? " Carlo, alone in 
 a room at the Mitre, is represented with two wine cups, per- 
 sonating two men, who, after drinking healths, quarrel and 
 overturn the table. They pledge "that honourable Countess " 
 and also " the Count Frugale," who is mentioned by Fastidi- 
 ous as one of his friends (II. i). The pledge is drunk by 
 Carlo kneeling.^ When Macilente enters he tells Carlo to 
 ridicule the others when they come. Carlo then utters words, 
 which are in imitation of Marston's language : " Whoreson, 
 strum mel-patched, goggle-eyed grumbledories, gigantoma- 
 chized." Carlo expresses the opinion that man resembles 
 nothing so much as swine, and therefore *' pork is your only 
 feed." The climax of the play is reached when Puntarvolo 
 seals up Carlo's mouth. When the constables arrive Carlo 
 and Fastidious are arrested. This indicates that the men 
 (Marston and Daniel) satirized as Carlo and Fastidious were 
 the persons at whom the play was especially aimed. 
 
 Marston's first attack on Jonson consisted of ridicule of 
 "new-minted epithets (as reall, intrinsecate, Delphicke)."^ 
 At his earliest opportunity, Jonson retorted by ridiculing Mars- 
 ton's "fustian." It is for this purpose that Clove and Orange, 
 "mere strangers to the whole scope of our play," are intro- 
 duced in the scene laid in the Middle Aisle of St. Paul's (III. i). 
 Orange is " nothing but salutations." The ridicule of Marston's 
 vocabulary is contained in the following passage, in which His- 
 triomastix is named : — 
 
 ^ Carlo = Anaides {Cynthia's Revels), of whom we are told, " He never kneels 
 but to pledge healths " (II. i). See discussion of Anaides, below. It was a com- 
 mon custom to drink healths kneeling. Allusions to it are found in Chapman's 
 May Day, II. i ; Fletcher's Coxcomb, I. 5, and in a number of other plays. 
 
 2 " To those that Seeme Judiciall Perusers," The Scourge of Villanie. See 
 above, p. 4. 
 
EVERY MAN OUT OF HIS HUMOUR. 5 1 
 
 Clove. Now, sir, whereas the ingenuity of the time, and the soul's syn- 
 derisis are but embrions in nature, added to the paunch of EsquiHne, and 
 the intervallum of the zodiac, besides the ecliptic line being optic, and not 
 mental, but by the contemplative and theoric part thereof, doth demonstrate 
 to us the vegetable circumference, and the ventosity of the tropics, and 
 whereas our intellectual or mincing capreal (according to the metaphysicks) 
 as you may read in Plato's Histriomastix — you conceive me, sir? 
 
 Orange. O lord, sir ! 
 
 Clove. Then coming to the pretty animal, as reason long since is fled to 
 animals, you know, or indeed for the more modelizing, or enamelling, or 
 rather diamondizing of your subject, you shall perceive the hypothesis, or 
 galaxia (whereof the meteors long since had their initial inceptions and 
 notions), to be merely Pythagorical, mathematical, and aristocratical — 
 For, look you, sir, there is ever a kind of concinnity and species — Let 
 us turn to our former discourse, for they mark us not.^ 
 
 1 The common error concerning Dekker's connection with the " War " has led 
 some critics to identify Clove and Orange with Marston and Dekker. Dr. Brins- 
 ley Nicholson says : " With regard to the parts of Clove and Orange, who, as 
 Cordatus says, 'are mere strangers to the whole scope of our play,' the extrava- 
 gant diction of John Marston was without a doubt ridiculed in Clove's fustian 
 phrases, while to every appearance Thomas Dekker was ridiculed as Orange." 
 {Ben /onso7i, ed. Brinsley Nicholson, Mermaid .Series, I. no.) Simpson accepts 
 the opinion of Dr. Nicholson {T/ie School of Shakspere, II. 5). It needs no 
 long argument to show that both of these identifications are incorrect although 
 Marston is ridiculed. Carlo (Marston) is on the stage when Clove utters 
 the fustian. Nothing is said of Orange that can be applied to Dekker, with 
 whom, moreover, Jonson had at this time no quarrel. (See note above, p. 46.) 
 
 Of the fustian words used by Clove we find that Marston uses the following : 
 in Histriomastix, zodiac, ecliptic, tropic, mathematical, demonstrate (I. i), paunch 
 of Esquiline (III. 4) ; in The Scourge of Villanie, synderisis. Sat. VIII. (Emulo's 
 use of "synderisis of soul" is ridiculed, Patient Grissil, III. 2); mincing capreal. 
 Sat. XL; capreal, Sat. I. ; circumference, Sats. VI., X.; intellectual, "To Detrac- 
 tion," Sats. IV., VII., VIII. , XL; contemplation (not contemplative) Sats. VIIL, 
 XL ; Pythagoran (not Pythagorical) Sat. III. (Emulo is ridiculed for using 
 " Diogenicall," Patietit Grissil, II. i) ; " diamondize " and " modelize " seem to be 
 in ridicule of the forming of verbs by adding " ize " as Marston does (cf. idola- 
 trize, Sat. VIIL, also Brisk's use of "sinewize" and "arterize," III. i, and Juni- 
 per's " pilgrimize," Case is Altered, II. 4). " Ingenuity " is used by Brisk and 
 ridiculed by Macilente, III. 3. The vocabularies of Emulo {Patient Grissil) and 
 Brisk (both of whom are probably satires on Daniel) are ridiculed, and some of 
 their words are used by Clove and termed " fustian," so that Marston may not be 
 the only writer whose language is here attacked. 
 
52 THE WAR OF THE THEATRES. 
 
 Fastidious Brisk is not subjected to the bitter personal abuse 
 that is showered upon Carlo Buffone, but he is none the less 
 held up to ridicule for his devotion to dress, and his obsequi- 
 ous attendance upon ladies of the court. He is a courtier, and 
 in this character Jonson ridicules the poet Daniel.^ He is 
 described thus : — 
 
 A neat, spruce, affecting courtier, one that wears clothes well, and in 
 fashion ; practiseth by his glass, how to salute ; speaks good remnants, 
 notwithstanding the base viol and tobacco ; swears tersely, and with variety ; 
 cares not what lady's favour he belies, or great man's familiarity ; a good 
 property to perfume the boot of a coach. He will borrow another man's 
 horse to praise, and backs him as his own. Or, for a need, on foot can post 
 himself into credit with his merchant, only with the gingle of his spur, and 
 the jerk of his wand. 
 
 This character is drawn in ridicule of the absurd customs of 
 the gallants, but also of an individual who bears a striking re- 
 semblance to Master Mathew in Every Man in his Huvionr, 
 and Emulo in Patient Gj-issil. Cordatus describes Fastidious 
 as a " fresh, Frenchified courtier ... as humorous as quick- 
 silver " (I. i). Throughout the play Fastidious is ridiculed for 
 boasting of his intimacy with the nobility and his familiarity 
 with court life. His flattery of ladies and his exquisite clothes 
 are ridiculed. He boasts of his horses (H. i). Carlo ridicules 
 Fastidious' use of " arride " (H. i), and Macilente ridicules the 
 use of "ingenuity" for "wit" (HI. 3). Fastidious is ridiculed 
 whenever he appears, and when he boasts of his court friends, 
 " Count Frugale, Signior Illustre, Signior Luculento ^ and a 
 sort of *em," Carlo remarks : "There's ne'er a one of these 
 but might lie a week on the rack ere they could bring forth his 
 name" (H. i). Puntarvolo asks Fastidious whether he knows 
 
 1 Mr. Sidney Lee states that Jonson ridiculed Lyly in the character of Fastidi- 
 ous Brisk. Dictionary of National Biography, s. V. John Lyly, p. 331. Allusion 
 was made above (note, p. 47) to the identification of Fastidious Brisk with Dekker. 
 
 2 With whom he fought the duel described in IV. 4. 
 
EVERY "^TVIAN OUT OF HIS HUMOUR. 53 
 
 "our court star there, that planet of wit Madonna Saviolina." 
 Fastidious replies that she is his mistress, and that he has her 
 scarf, or riband, or feather (II. i). Madonna Saviolina is per- 
 haps the same as Mathew's Madonna Hesperida.i she is 
 probably the Delia of Daniel.^ 
 
 Carlo and Fastidious dislike each other, and Carlo says of 
 Fastidious : — 
 
 A gull, a fooi, no salt in him 'i the earth, man : he looks like a fresh 
 salmon kept in a tub ; he '11 be spent shortly. His brain 's lighter than his 
 feather already, and his tongue more subject to lye, than that is to wag ; 
 he sleeps with a musk-cat every night, and walks all day hanged in poman- 
 der chains for penance ; he has his skin tanned in civet, to make his com- 
 plexion strong, and the sweetness of his youth lasting in the sense of his 
 sweet lady ; a good empty puff.^^ 
 
 Fastidious is ridiculed constantly for his fine clothes. He 
 thinks that "rich apparel hath strange virtues" (II. 2). He 
 declares : — 
 
 I had three suits in one year made three great ladies in love with me ; 
 I had other three undid three gentlemen in imitation ; and other three gat 
 three other gentlemen widows of three thousand pound a year. 
 
 Jonson attacks Daniel's poetry in a passage (III. i.) in which 
 Fastidious is made to use expressions taken from The Covi- 
 plaint of Rosamond. 
 
 Fast. Good Signior Macilente, if this gentleman, Signior Deliro, furnish 
 you, as he says he will, with clothes, I will bring you, to-morrow by this time, 
 into the presence of the most divine and acute lady in court ; you shall see 
 sweet silent rhetoric, and dumb eloquence speaking in her eye. 
 
 1 Every Man in his Humour (quarto), V. r. 
 
 2 Nashe dedicated The Terrours of the Nigiit to Mistress Elizabeth Carey, 
 ' sole daughter ' of Sir George Carey, Knight. " Miraculous," says Nashe, " is 
 your wit, and so is acknowledged by the wittiest poets of our age, who have vowed 
 to enshrine you as their second Delia." Mr. Fleay identifies Elizabeth Carey 
 with Daniel's Delia, and says : " The first Delia was Queen Elizabeth." Chronicle 
 ^f the English Drama, I. 86. 
 
 311. I. 
 
54 THE WAR OF THE THEATRES. 
 
 Gifforcl notes this ridicule of Daniel's expressions used in the 
 following passage : — 
 
 Ah, Beauty, Syren, fair enchanting good, 
 
 Sweet silent rhetoric of persuading eyes, 
 
 Dumb eloquence, whose power doth move the blood, 
 
 More than the words or wisdom of the wise ^ 
 
 It is possible that Daniel's sonnets, while not quoted, may- 
 have been in Jonson's mind, when, to an absurd wish of Fas- 
 tidious that he might be the viol on which his mistress plays, 
 Macilente remarks : " I like such tempers well as stand before 
 their mistresses with fear and trembling, and before their 
 Maker like impudent mountains." There are several passages 
 in which Macilente declares that Fastidious is not known at 
 court. Fallace, who favors Fastidious, attributes these state- 
 ments of Macilente to envy (IV. i.), which was probably the 
 real cause of Jonson's hostility to Daniel.^ The facts concern- 
 ing Daniel correspond in general with what we are told of Fas- 
 tidious and his connection with ladies of the court.^ 
 
 1 The Complaint of Rosamond. Sir John Davies has an epigram on Daniel's 
 " silent eloquence," In Dacnm, 45 : — 
 
 Dacus with some good colour and pretence 
 Tearmes his loves beautie silent eloquence, 
 For she doth lay more colours on her face 
 Than even Tully used, his speech to grace. 
 The Complete Poems of Sir John Davies, ed. Grosart, II. 42. 
 
 Shakespeare's Sonnet 23 speaks of " eloquence and dumb presagers " of "silent 
 love," which Mr. Fleay thinks is a hit at this passage of Daniel's. Chronicle of the 
 English Drama, II. 215. 
 
 2 See above, p. 13. 
 
 3 Daniel was tutor to William Herbert, and lived at Wilton, the seat of his 
 pupil's father. With Mary, Countess of Pembroke, Sir Philip Sidney's sister and 
 young Herbert's mother, Daniel was on terms of intimacy. Later he became tutor 
 to Anne, daughter of Margaret, Countess of Cumberland. The dedications of 
 many of his poems show that he was intimate with the nobility. Daniel is said 
 traditionally to have succeeded Spenser as Laureate in 1 599, the year in which 
 this play was produced. This fact may have a close connection with the attack 
 on Daniel as Fastidious Brisk. 
 
EVERY MAN OUT OF HIS HUMOUR. 55 
 
 Fastidious describes a duel which he fought with Signior 
 Luculento (IV. 4).^ As the cause of the duel was "the same 
 that sundered Agamemnon and great Thetis' son," and as 
 Daniel, in his sonnets to Delia, 6^ and 69, intimates that he 
 had been wronged, it is possible that Luculento may be Lord 
 Berkeley, whom Elizabeth Carey (identified as Delia by Mr. 
 Fleay) married. ^ Fastidious is arrested with Carlo (IV. 4), and 
 is visited, in the counter, by Fallace and Macilente. The 
 latter remarks, "This it is to kiss the hand of a Countess, to 
 have her coach sent for you," etc., referring to the boasts that 
 Fastidious had made. We cannot identify the Countess with 
 whom F'astidious was acquainted, but the career of Daniel 
 would indicate that either the Countess of Pembroke or the 
 Countess of Cumberland might possibly be alluded to.^ 
 
 The sole ambition of Fungoso seems to be to dress like Fas- 
 tidious. Fungoso is described as — 
 
 The son of Sordido, and a student ; one that has revelled in his time, 
 and follows the fashion afar off, like a spy. He makes it the whole bent of 
 his endeavours to wring sufficient means from his wretched father, to put 
 him in the courtier's cut, at which he earnestly aims, but so unluckily, that 
 he still lights short a suit. 
 
 Fungoso is godson of Puntarvolo. He studies law and is a 
 gentleman (II. i). Pretending to need law books, Fungoso 
 obtains money from his father and spends it on clothes (II. i). 
 His sister Fallace is wife of Deliro, the citizen. Fungoso is 
 dunned for bills by his tailor, shoemaker, and haberdasher 
 (IV. 5), but succeeds in putting them off. His expensive 
 habits of dress get him into debt, so that he is said to keep a 
 
 1 This duel is similar to that between Emulo and Owen in Patie7tt Grissil, III. 2. 
 See below. 
 
 2 Chronicle of the English Drama, I. 86. Mr. Fleay identifies Luculento with 
 Drayton. Ibid., p. 361. Luculento is mentioned in only one other passage, and 
 then by Fastidious as being a gentleman of the court, II. i. 
 
 ^cf. Dictionary of iVational Biography, s. v. Samuel Daniel, pp. 25, 26. 
 
56 THE WAR OF THE THEATRES. 
 
 tailor, "in place of a page, to follow him still" (IV. 5). After 
 Carlo and Fastidious have been arrested (V. 4), Fungoso is dis- 
 covered under a table and is made responsible for the bill. 
 He is constantly ridiculed for having such fine clothes and no 
 money with which to pay for them. Deliro pays the bill at the 
 tavern for Fungoso (V. 6). The reference to the tailor's bill 
 which Fungoso was unable to pay is, in itself, almost sufficient 
 to identify him with Lodge, who was notorious for having been 
 arrested in 1595 at the instigation of R. Topping, of the 
 Strand, tailor. There are extant several documents which deal 
 with the lawsuit concerning this bill. They date from 1595 
 to 1598. Lodge fled "beyond seas," and Henslowe, who had 
 gone bail for him, refused to pay the bail or to disclose Lodge's 
 hiding-place. Henslowe finally agreed to pay, and decision 
 was rendered. against him.^ When Lodge published A Fig for 
 Monius, 1595, the title-page bore the name of the author as 
 "T. L. of Lincolne's Inne, Gent." We find in Lodge's study 
 of law the original of Fungoso's study of law, but Lodge, like 
 Fungoso, did not persevere in the law. When Fungoso hides 
 under the table (V. 6) we have, perhaps, an allusion to Lodge's 
 hiding during the trouble with the tailor. It is not impossible 
 that the numerous references to a " suit " and to Fungoso's 
 being " short a suit " may have a double meaning and include 
 the lawsuit. Fungoso imitates and praises Brisk. Lodge 
 imitated and praised Daniel.^ Fungoso is at court in V. 2. 
 
 1 For a summary of the facts concerning this lawsuit, see Mr. Fleay's Chronicle 
 of the English Drama, II. 46. Mr. Edmund W. Gosse seems inclined to doubt 
 that it was the poet Lodge who was concerned in this suit. The Complete Works 
 of Thomas Lodge, printed for the Hunterian Club, 1883, " Memoir of Thomas 
 Lodge," I. 30. 
 
 '^ In 1 592 Daniel published Delia, contayning certayne Sonnets : with the Com- 
 plaint of Rosamond, and in the next year Lodge published a book in many respects 
 similar to Daniel's, entitled, Phillis : honoured with Pastorall Sonnets, Elegies and 
 Amorous Delights, whereiinto is annexed the Tragicall Complaynt of Elstred. 
 
EVERY MAN OUT OF HIS HUMOUR. S7 
 
 Macilente, who appears in the Induction as Asper, the 
 author, is the first of the pictures of himself that Jonson is 
 famous for having drawn. Asper is described as being-^ 
 
 of an ingenious and free spirit, eager, and constant in reproof, without fear 
 controlling the world's abuses. One whom no servile hope of gain or frosty 
 apprehension of danger, can make to be a parasite, either to time, place or 
 opinion. 
 
 Macilente, the character which Asper assumes in the play, 
 
 is — 
 
 A man well-parted, a sufficient scholar, and travelled : who, wanting that 
 place in the world's account which he thinks his merit capable of, falls into 
 such an envious apoplexy, with which his judgment is so dazzled and dis- 
 tasted, that he grows violently impatient of any opposite happiness in another. 
 
 The Induction, with Asper and his friends, Mitis and Corda- 
 tus, as the speakers, contains Jonson's bold announcement of 
 the purpose of his play and his defiance of the critics. 
 
 I fear no mood stamped in a private brow, 
 When I am pleased t' unmask a public vice. 
 
 Asper is warned by Mitis and Cordatus that he will stir up 
 antagonism and produce no good result. He replies to this in 
 terms of haughty defiance of the world. When Asper is about 
 to leave the stage he says : — 
 
 That Lodge had Daniel in mind in writing this book is shown by the opening 
 poem, Induction, in which occur these lines : — 
 
 Kiss Delia's hand for her sweet prophet's sake, 
 
 Whose not affected, but well couched tears 
 
 Have power, have worth, a marble minde to shake ; 
 
 Whose fame no Iron-age, or time outweares ! 
 
 Then lay you down in Phillis' lappe and sleepe, 
 
 Untill she weeping read and reading weepe. 
 
 Lodge's A Fig for Motnits, 1 595, contained an Eclogue (No. 4) to Samuel 
 Daniel. Jonson has combined the tailor's bill and Lodge's imitation of Daniel in 
 Fungoso's imitation of Fastidious Brisk's clothes. 
 
58 THE WAR OF THE THEATRES. 
 
 Now gentlemen I go 
 To turn an actor and a humorist, 
 Where, ere I do resume my present person, 
 We hope to make the circles of your eyes 
 Flow with distilled laughter : if we fail 
 We must impute it to this only chance 
 Art hath an enemy called ignorance. 
 
 Surely this is no way to win the favour of an audience ! Jon- 
 son had undoubtedly been subjected to much harsh criticism, 
 as is shown by the tone of this Induction, and we look forward 
 to the play itself, knowing that it is to be a reply to his critics. 
 Throughout the play Macilente occupies the position of critic, 
 and is not intimately connected with the plot, many of his 
 speeches being "asides" which reveal to us the relationship 
 which Jonson sustained to some of his contemporaries satirized 
 in the play. 
 
 Carlo tells Sogliardo that Macilente is both a scholar and 
 a soldier, which was true of Jonson. Carlo describes Macilente 
 (I. I) as — 
 
 a lean mungrel, he looks as if he were chop-fallen with barking at other 
 men's good fortunes ; 'ware how you offend him ; he carries oil, and fire in 
 his pen, will scald where it drops ; his spirit is like powder, quick, violent ; 
 he'll blow a man up with a jest : I fear him worse than a rotten wall does 
 the cannon ; shake an hour after at the report. 
 
 This passage may have reference to the impression made by 
 Jonson's earlier plays Every Man in his Humour and The Case 
 is Altered. 
 
 Deliro admires Macilente and tells Fastidious (II. 2) that 
 Macilente is a scholar and travelled, to which Brisk replies 
 " He should get him clothes. . . . An he had good clothes 
 I 'd carry him to court with me tomorrow." Allusion to Jonson's 
 shabby clothes is frequent throughout the plays concerned in 
 "The War of the Theatres." In the same scene (II. 2) 
 Macilente says : " Would my father had left me but a good face 
 
EVERY MAN OUT OF HIS HUMOUR. 59 
 
 for my portion," a reference to Jonson's "rocky face" ^ ridi- 
 culed by his enemies. 
 
 When Macilente, in the presence of Fallace (IV. i), makes 
 a speech about Fastidious, "Alas the poor fantastic, etc.," she 
 attributes to envy the hostility to Fastidious. In IV. 4, Maci- 
 lente says that he was with Fastidious at court. Macilente 
 poisons Puntarvolo's dog (V. i), and discovers Fungoso under 
 the table (V. 4). Macilente is the means of putting out of his 
 humour every other character. Having succeeded in punish- 
 ing almost all the other characters, except Deliro, who was his 
 friend, Macilente makes his final speech in a style characteris- 
 tic of Jonson. 
 
 Shift is another version of Bobadil. He is the subject of 
 Epigram XII. ^ and is thus described in the "characters" : — 
 
 A thread-bare shark ; one that never was a soldier, yet lives upon lend- 
 ings. His profession is skeldring and odling, his bank Paul's, and his ware- 
 house Picthatch. Takes up single testons upon oaths, till doomsday. Falls 
 under executions of three shillings, and enters into five-groat bonds. He 
 waylays the reports of services, and cons them without book, damning him- 
 self he came new from them, when all the while he was taking the diet in 
 the bawdy-house, or lay pawned in his chamber for rent and victuals. He 
 is of that admirable and happy memory, that he will salute one for an old 
 acquaintance that he never saw in his life before. He usurps upon cheats 
 quarrels and robberies, which he never did, only to get him a name. His 
 chief exercises are, taking the whiff, squiring a cockatrice, and making privy 
 searches for imparters. 
 
 ^ " My mountain belly and my rocky face," ATy Picture left in Scotland. The 
 "mountain belly" was a later acquisition, for Jonson is in this play "lean Maci- 
 lente," and " a rank, raw-boned Anatomy," IV. 4. 
 
 2 Epigram XII. says of Shift, " His whole revenue is, God pays." In The Lon- 
 don Prodigal, II. 3, we are told : — 
 
 But there be some that bear a soldier's form 
 That swear by him they never think upon, 
 Go swaggering up and down from house to house, 
 Crying, God pays all. 
 
60 THE WAR OF THE THEATRES. 
 
 We learn from the play that Shift is a pimp, "the rarest 
 superficies of a humour ; he comes every morning to* empty 
 his lungs in Pauls " (III. i). When he first appears he is about 
 to post, in the middle aisle of Paul's, two bills, in one of which 
 he offers his services as gentleman-usher to any gentlewoman 
 who may be in need of such an attendant ; in the other he 
 offers his services to a young gentleman as an instructor in the 
 most "gentlemanlike use of tobacco" (III. i). As the result 
 of this latter notice. Shift becomes the instructor of Sogliardo. 
 
 Shift appears in the aisle of Paul's " expostulating with his 
 rapier," which, he declares, has travelled with him "the best 
 part of France and the Low Country," in Lord Leicester's time 
 (III. i).^ Shift's wonderful exploits are described by Sogliardo 
 (IV. 4) but Puntarvolo makes Shift confess that all his boasting 
 has been nothing but lies (V. 3). Sogliardo, who witnesses 
 the humbling of Shift, dismisses him with contempt. ^ 
 
 Sogliardo is described in the "characters" as — 
 
 an essential clown, brother to Sordido, yet so enamoured of the name of 
 a gentleman that he will have it, though he buys it. He comes up every 
 term to learn to take tobacco, and see new motions. He is in his kingdom 
 when he can get himself into company where he may be well laughed at. 
 
 He is ridiculed in the play and is introduced at court (V. 2) 
 by Puntarvolo, who describes him ironically as being 
 
 exceedingly valiant, an excellent scholar, and so exactly travelled, that he 
 is able, in discourse, to deliver you a model of any prince's court in the 
 world ; speaks the languages with that purity of phrase, and facility of 
 accent, that it breeds astonishment ; his wit the most exuberant, and, above 
 wonder, pleasant, of all that ever entered the concave of this ear. . . . But 
 that which transcends all, lady : he doth so peerlessly imitate any manner 
 of person for gesture, action, passion. 
 
 1 Brainworm makes similar boasts of military service, and sells his rapier to 
 Master Stephen, Every Man in his Numoiir, II. 2. 
 
 2 Bobadil was humliled by Downright, Every Man in his Hiimoitr, IV. 5. 
 
EVERY MAN OUT OF HIS HUMOUR. 6l 
 
 Carlo, who is instructing Sogliardo " in all the rare qualities, 
 humours, and compliments of a gentleman " (I. i), gives as the 
 first requisite, that Sogliardo " must give over housekeeping in 
 the country, and live altogether in the city" (I. i). Sogliardo 
 must have a coat of arms, and Carlo tells him how to procure 
 one (I. i).^ Sogliardo obtains a coat of arms from the herald's 
 office at a cost of thirty pounds (III. i). His crest is described 
 as "a boar without a head, rampant." Carlo's comment is — 
 
 I commend the herald's wit, he has decyphered him well : a swine with- 
 out a head, without brain, wit, anything indeed, ramping to gentility. 
 
 The escutcheon is — 
 
 Gyrony of eight pieces : azure and gules ; between three plates, a chev- 
 ron engrailed checquy, or, vert and ermins ; on a chief argent, between 
 two ann'lets sable, a boar's head, proper.^ 
 
 1 Sogliardo resembles in some respects Master Stephen in Every Man in //is 
 Humour. Stephen, like Sogliardo, is a countryman who wishes to make " a 
 blaze of gentry to the world." Stephen employs Bobadil to teach him " whatso- 
 ever is incident to a gentleman " (III. i). Sogliardo and Stephen are both rich. 
 The former is advised by Carlo to turn " four or five hundred acres " of his best 
 land into apparel (I. i), while the latter declares, " I have a very pretty living of 
 my own, hard by here" (I. i). It may seem fanciful, but it is perhaps worth 
 mentioning that Sogliardo is called " that swine," while Stephen's abode was 
 Hogs-den. 
 
 2 Mr. Fleay says : " Sogliardo 's arms, ' on a chief argent between two ann'lets 
 sable, a boar's head proper,' indicate Burbadge {Boar-badge) ; badge {hagiie) being 
 a ring, garland, or annulet." Shakespeare Manual, p. 312. Mr. Fleay says also : 
 " In V. 4, I believe that 'hog' and 'usurous cannibals' refers to the Boar-badges, 
 and that all the allusions to swine in this play do likewise ; but I do not expect 
 the reader to agree with me." Chronicle of the English Dravia, I. 361. Sordido 
 is " a Burbadge, some country relative of Richard Burbadge " (ibid., p. 360). 
 This interpretation of the coat of arms is plausible, and were there no other con- 
 siderations, might be accepted. Sordido and .Sogliardo, if Burbadges at all, must 
 have been relatives of Richard Burbadge. Neither of them was Richard Bur- 
 badge. This play, like its predecessor, was acted by the Chamberlain's men, and 
 Richard Burbadge, as the folio informs us, took part in both plays. It is improb- 
 able that Jonson, who was writing for the Chamberlain's company, would have 
 satirized, by allusions to hogs, swine, and boars' heads, either the man or the 
 
62 THE WAR OF THE THEATRES. 
 
 In any attempt to identify Sogliardo we must consider also 
 his brother, Sordido, who is described by Macilente (I. i) as 
 " Sordido the farmer, a boor, and brother to that swine [Sogli- 
 ardo] was here." Sordido's "character" is — 
 
 A wretched liob-nailed chuff, whose recreation is reading of almanacks ; 
 and fehcity, foul weather. One that never prayed but for a lean dearth, and 
 ever wept in a fat harvest. 
 
 Sordido is rich, but " like a boisterous whale, swallows the 
 poor" (I. i). He will not bring his corn to market though 
 the people starve. He is " cause to the curse of the poor " 
 (HI. 2). He hangs himself because "his prognostication has 
 not kept touch with him " (HI. 2), but is cut down by "rustics " 
 whose curses upon him effect a change in his character. What 
 we are told of Sordido agrees in many respects with what 
 we know of Philip Henslowe, the " old pawnbroking, stage- 
 managing, bear-baiting usurer," whose company of actors was 
 at this time the chief rival of the Chamberlain's men. Hens- 
 lowe owned a great deal of property in Southwark, where he 
 lived. ^ He might properly be spoken of as a "boor" or 
 countryman, for his early years were spent in the country. ^ 
 
 In connection with the coat of arms, " boar's head," "swine," 
 and similar allusions in the play, it is interesting to note the 
 
 relatives or the name of the man who was the chief actor in the company, and upon 
 whom the success of the play so largely depended. No Burbadges of whom we 
 have any knowledge are in any way to be identified with Sordido and Sogliardo. 
 
 1 In a passage which probably refers to Henslowe, Chettle denounces landlords 
 who are harsh to poor tenants. Kind Hartes Dreame. Shakspere Allusion- 
 Books, Pt. I., ed. C. M. Ingleby. New Shakspere Society Publications. Henslowi s 
 Z>/rtrj' contains numerous entries recording payments of rent by his tenants. 
 
 2 Henslowe was a native of Sussex, and was servant to Woodward, bailiff to 
 Viscount Montague, whose property included Battle Abbey and Cowdray, in 
 Sussex, and Montague House in Southwark. Henslowe settled in Southwark in 
 1577, in .St. Saviour's Parish. .See article " Philip Henslowe," by William Rendle, 
 in The Genealos;ist, 1S90 ; also Dictionary of National Biography, s. v. Philip 
 Henslowe. 
 
EVERY MAN OUT OF HIS HUMOUR. 63 
 
 fact that Henslowe owned the notorious as well as famous 
 Boar's Head tavern in Southwark, ^ and that his brother-in-law 
 ("that swine was here" ?) was Ralph Hogge, an iron-founder 
 at Buxted. There may or may not be any significance in these 
 
 facts. 
 
 The language used by Puntarvolo is an object of ridicule in 
 the absurd scene (II. 2) in which he converses with his wife. 
 The language is similar to that used by Amorphus in Cynthia s 
 Revels. Puntarvolo is "a gentleman of exceeding good 
 humour." 
 
 He loves dogs and hawks and his wife well ; he has a good riding face 
 and he can sit a great horse ; he will taint a staff well at tilt ; when he is 
 mounted he looks hke the sign of the George. 
 
 He has dialogues and discourses between his horse, himself, and his dog.'-' 
 
 Puntarvolo intends to travel, and lays a wager on his safe 
 return. He says : — 
 
 I am determined to put forth some five thousand pound, to be paid me 
 five for one, upon the return of myself and wife and my dog, from the Turk's 
 court in Constantinople.^ 
 
 1 We know that Henslowe owned the Boar's Head tavern in 1604 from the 
 following entry in his diary : " The Bores Heade tenantes, as foloweth, begenynge 
 at crystmase laste, 1604." Hensloive's Diary, p. 265 ; see also p. 266. Henslowe 
 owned much property in the immediate neighborhood of the Boar's Head tavern 
 as early as 1584-85, and it seems altogether probable that he owned the Boar's 
 Head tavern either wholly or in part as early as 1597 or 1598, although investiga- 
 tion has failed to disclose any positive proof that he did. W. H. Atkins, Esq., 
 Clerk of the Board of Works for the St. Saviour's district (to whom, as also to 
 the Rev. W. Thompson, Rector of St. Saviour's, the writer acknowledges his in- 
 debtedness for information on this point) thus answers a question concerning the 
 record of ownership of the old tavern : " You ask whether there is an office in 
 which deeds are registered. There is none for Surrey, but there is a registry for 
 the County of Middlese.x. If any deeds relating to the inn are in existence they 
 are probably in the hands of private individuals : but titles on purchase or sale 
 are now, I understand, seldom traced back more than thirty years, and this is 
 inimical to the preservation of old deeds." 
 
 MI. I. 
 
64 THE WAR OF THE THEATRES. 
 
 Puntarvolo has travelled as far as Paris, and speaks French 
 and Italian. Carlo describes Puntarvolo as a " dull stiff knight " 
 who "has a good knotty wit." He is, says Carlo, — 
 
 a good tough gentleman ; he looks like a shield of brawn at Shrove-tide, 
 out of date, and ready to take his leave ; or a dry pole of ling upon Easter- 
 eve, that has furnished the table all Lent, as he has done the city this last 
 vacation.^ 
 
 Puntarvolo goes to court and leaves his dog in the care of a 
 groom. Macilente poisons the dog (V. i). Antagonism is 
 developed between Puntarvolo and Carlo. It is Puntarvolo 
 who calls Carlo "thou Grand Scourge or Second Untruss of 
 the Time " (II. i), and who seals up Carlo's mouth in the tavern 
 scene (V. 4). Puntarvolo is evidently the same person as 
 Amorphus in Cynthia s Revels. Anthony Monday is probably 
 the man ridiculed in these two characters, but the proofs of 
 this will be postponed until the facts concerning Amorphus 
 have been set forth. ^ 
 
 Deliro, the friend of Macilente, is described in the "charac- 
 ters " as — 
 
 A good doting citizen, who, it is thought, might be of the Common 
 Council for his wealth ; a fellow sincerely besotted on his own wife, and so 
 rapt with a conceit of her perfections, that he simply holds himself unworthy 
 of her. And, in that hood-winked humour lives more like a suitor than a 
 husband ; standing in as true dread of her displeasure, as when he first 
 made love to her. He doth sacrifice two-pence in juniper to her every 
 morning before she rises, and wakes her with villainous out-of-tune music, 
 which she out of her contempt (though not out of her judgment) is sure to 
 dislike. 
 
 iIV. 4. 
 
 2 " Puntarvolo with his dog may be Sir John Harington (for the dog, see the 
 engraved title of his Ariosto)." Chronicle of the English Di-aina, I. 360. Mr. Fleay 
 suggests also that Puntarvolo is the same person as Amorphus, and that Amor- 
 phus is Barnaby Rich {ibid.,Y>- 363). This identification is discussed below. Dr. 
 Cartwright thought that Puntarvolo was a caricature of Lyly. Shakespea7-e and 
 Jonsoii, Dramatic 7'ersus Wit Combats, p. 16. 
 
EVERY MAN OUT OF HIS HUMOUR. 65 
 
 Deliro entertains Macilente at his house and promises to pro- 
 vide Macilente with clothes in which to appear at court with 
 Fastidious (II. 2). Deliro's chief claim to distinction seems to 
 rest on his having a shrew for a wife. He pays the bill at the 
 tavern for Fungoso (V. 6) and finally discovers Fallace's pas- 
 sion for Fastidious (V. 7). Macilente criticises Fallace, but 
 Deliro refuses to believe anything ill of her. She is the daugh- 
 ter of Sordido and sister of Fungoso, whose attempts to imitate 
 Brisk she approves and aids. Deliro has entered into three 
 actions against Fastidious (V. 7), and holds mortgages on all the 
 lands of Fastidious (IV. i). 
 
 Deliro and Fallace are probably the same persons as the 
 Citizen and his wife {Cynthia s Revels), and Albius and Chloe 
 {Poetaster)} 
 
 The scene (II. 2) in which Deliro and Fallace display their 
 lack of harmony, and Fallace shows her fondness for Fastidious, 
 was intended as personal satire, as is clearly indicated by the 
 comments of Mitis and Cordatus. Cordatus says of the inter- 
 pretation of the scene : — 
 
 Indeed there are a sort of these narrow-eyed decypherers, I confess, that 
 will extort strange and abstruse meanings out of any subject, be it never so 
 conspicuous and innocently delivered. But to such, where'er they sit con- 
 cealed, let them know, the author defies them and their writing-tables ; and 
 hopes no sound or safe judgment will infect itself with their contagious com- 
 ments, who, indeed, come here only to pervert and poison the sense of what 
 they hear and for nought else. 
 
 It has been thought that in Every Man out of his Hinnojir 
 (III. i) Jonson has introduced an allusion to Twelfth Night. 
 Mitis fears that objection will be made to Jonson's play : — 
 
 That the argument of his comedy might have been of some other nature, 
 as of a duke to be in love with a countess, and that countess to be in love 
 
 1 Mr. Fleay thinks " Deliro, possibly Monday." Chronicle of the English 
 Drama, I. 360. No reason for this conjecture is given. 
 
66 THE WAR OF THE THEATRES. 
 
 with the duke's son, and the son to love the lady's waiting maid ; some such 
 cross wooing with a clown to their serving man, better than to be thus near 
 and familiarly allied to the time. 
 
 There is some uncertainty as to the date of Twelfth Night} 
 but, even if it could be proved that it was produced before Jon- 
 son's play, the plot here suggested by Jonson is, as Gifford has 
 shown, not sufficiently in accord with the plot of Tivelfth 
 Night to make the allusion certain. The remark of Mitis is 
 really a reply to a possible objection to Jonson's characters, 
 that they were not dukes and countesses, but simply ordinary 
 people of the time. In this regard the characters in Jonson's 
 plays are in contrast to those in the plays of many other Eliza- 
 bethan dramatists. 
 
 1 1 600-1 is the date usually accepted by critics at the present time. 
 
V. 
 
 PATIENT GRISSIL AND JACK DRUM'S ENTER- 
 TAINMENT. 
 
 Four plays of Dekker have been thought by critics to have 
 been connected with the quarrel between Jonson and Marston 
 vi^ The Shoemakers Holiday, Old Fortunatus, Patient Gnssil 
 ^ Sattromasttx. In regard to the last there can be no dif- 
 ference of opinion, as it was avowedly a reply to Jonson s 
 Satirical Comedies, especially to Poetaster. Before treating 
 of Patient Grissil it is necessary to notice the following state- 
 ment concerning the frrst two of the plays mentioned :- 
 
 on account of their connection with the quarrel between Jonson 
 and Dekker and Marston ... it may be not out of place to mention tha 
 Dekker's Skoemaker^s Holiday and Old Fortunatus also belong to the 
 sedes of attacks to which Jonson was (as he tells us^) subject for three 
 years before he made any retaliation.^ 
 
 Although these plays contain personal satire, yet an exami- 
 nation of them has failed to reveal any attack on Jonson. 
 
 Several mistakes concerning Dekker's connection with the 
 .. War " have been mentioned.^ There is no attack on Jonson 
 in any play of Dekker's earlier than Satiromastix (1601), a 
 play which Dekker was ''hired" by Jonson's enemies to write. 
 If there had been any earlier attack, Jonson would not have 
 failed to refer to it, but would undoubtedly have retaliated by 
 representing Dekker in some character in the earlier^omedies. 
 
 1 Poetaster, Apologetical Dialogue. 
 
 2 Shakespeare Manual, F. G. Fleay, p. 277. 
 
 3 Above, pp. 46, note, 51, note. 
 
68 TilE WAR OF THE THEATRES. 
 
 There is, however, no representation of Dekker, or allusion to 
 any play of Dekker' s, in Jonson's works earlier than Poetaster 
 {i6oi), in which Dekker is represented as Demetrius, who is 
 to write a play satirizing Horace (Jonson). Dekker and Jon- 
 son were collaborating at almost the very time at which Dek- 
 ker' s portions of TJic Shoemaker s Holiday and Old Fortunatiis 
 were probably written.^ 
 
 Patient Grissil was written only in part by Dekker, the 
 other writers being Chettle and Haughton, as Henslowe's 
 entries show. It was completed and acted early in 1600, for 
 Henslowe made a payment on the play as late as Dec. 29, 
 1 599,2 and on March 18, 1599 (old style), he paid forty shil- 
 lings to stay the printing of the play.^ 
 
 Emulo, with his absurd "gallimaufry of language," has been 
 thought by some to be a caricature of Jonson, the duel between 
 Emulo and Owen (III. 2)* having reference to Jonson's duel 
 with Gabriel Spencer, and the mention of laths, lime, and hair 
 (II. i) being an allusion to Jonson's bricklaying.^ Any one 
 who reads the play carefully will see that Emulo resembles 
 
 1 Henslowe bought from Dekker T/ie Gentle Craft or T/te Shoemaker'' s Holiday 
 for three pounds on July 15, 1599 {Henslowe'' s Diary, p. 154). Payments for Old 
 Fortimatiis were made to Dekker by Henslowe on November 9, 24, and 31 {sic), 
 1599 {ibid., pp. 159, 160, 161). During August and September, 1599, Jonson was 
 collaborating with Dekker in writing plays which Henslowe calls " pagge of pli- 
 mothe" and " Robart the second, Kinge of Scottes tragedie " {ibid., pp. 155, 156). 
 
 - Payments for Patient Grissil were made on Oct. 16, Dec. 19, 26, 28, 29, 1599. 
 Henslowe'' s Diary, pp. 96, 158, 162. 
 
 ^ ibid., p. 167. The quarto has this title-page : The Pleasant Comodie of Patient 
 Grissil. As it hath beene sundrie times lately plaid by the right hofiorable the 
 Earle of Nottingham {Lord high Admirall) his servants. London. Imprinted for 
 Henry Rocket, and are to be solde at the long Shop tinder S. Mildred's Church in 
 the Potiltry, 1603. 
 
 * The quarto is not divided into acts and scenes. The references here are to 
 the divisions made by Collier in the Shakespeare Society reprint of the play. 
 
 ^ " Dekker avenged his friend [Marston, who had recently been satirized as 
 Carlo Buffone] by introducing Jonson as Emulo, the lath, lime, and hair man in 
 Patient Grissil." The North British Review, July, 1870, p. 402. 
 
PATIENT GRISSIL AND JACK DRUM's ENTERTAINMENT. 69 
 
 Jonson in no particular, and that the laths, lime, and hair are 
 mentioned because Emulo's boot has been called a •* wall " to 
 " save his shins." 
 
 Mr. Fleay has probably interpreted this character correctly 
 as a representation of Samuel Daniel, who had been satirized 
 by Jonson as Fastidious Brisk. ^ Emulo, like Fastidious Brisk, 
 is a courtier and is characterized (II. i) by Farneze as — 
 
 one of those changeable silk gallants, who, in a very scurvy pride, scorn 
 all scholars and read no books but a looking-glass, and speak no language 
 but "sweet lady" and "sweet signior," and chew between their teeth ter- 
 rible words, as though they would conjure, as " compliment," and " pro- 
 jects," and "fastidious," and " capricious," ^ and "misprision," and "the 
 sintheresis of the soul " and such like raise-velvet terms. 
 
 Jonson makes Fastidious Brisk use some of the same words 
 that are used by Emulo, and "the soul's synderisis," an expres- 
 sion of Clove's, is the same as "the sintheresis of the soul," 
 used by Emulo. The "fustian" talked by Clove resembles 
 the "gallimaufry of language" of Emulo. Concerning Clove 
 we are told : — 
 
 He will sit you a whole afternoon sometimes in a bookseller's shop, 
 reading the Greek, Italian, and Spanish, when he understands not a word 
 of either ; if he had the tongues to his suits, he were an excellent linguist.-^ 
 
 Of Emulo it is said : — 
 
 My brisk spangled baby will come into a stationer's shop, call for a 
 stool and a cushion, and then asking for some Greek poet, to him he falls, 
 and there he grumbles God knows what, but I '11 be sworn he knows not 
 so much as one character of the tongue.^ 
 
 ^ Chro7iicle of the English Drama, I, 97, note i. 
 
 2 Fastidious Brisk uses "capriciously," Every Alan out 0/ his Hitmotir, II. i. 
 
 ^ Every Man out of his Htimotir, III. i. 
 
 * II. I. The following passage in Dekker's Guls Horne-lwoke indicates that 
 Clove and Emulo were only following the custom : " I could now fetch you about 
 noone . . . out of your chamber, and carry you with mee into Paules Churchyard ; 
 where planting yourself in a Stationers shop, many instructions are to bee given 
 
70 THE WAR OF THE THEATRES. 
 
 "Fastidious" is one of Emulo's words, and he is called "a 
 brisk spangled baby." We are thus reminded of Jonson's rep- 
 resentation of Daniel as Fastidious Brisk. When it is said 
 that Emulo will " pull out a bundle of sonnets, written, and 
 read them to ladies," ^ there is, perhaps, an allusion to Daniel's 
 Delia. 
 
 The duel between Emulo and Owen described in III. 2 is 
 similar to that between Fastidious Brisk and Luculento de- 
 scribed in Every Man out of Ids Hiiuiou)', IV. 4, and they may 
 have reference to the same incident. It is evident that Dek- 
 ker had in mind the passage in Jonson's play. As both duels 
 were about a woman and as Emulo and Fastidious Brisk are 
 evidently the same person, it is possible that the woman may 
 have been Delia (Lady Elizabeth Carey), and Owen and Lucu- 
 lento may be representations of Lord Berkeley her husband.^ 
 
 Although no other character in Patient Grissil has been 
 identified, yet the almost certain identity of Emulo with 
 Daniel establishes a connection between this play and others 
 concerned in "The War of the Theatres," and may show that 
 Dekker, if at this time involved in the "war," was on Jonson's 
 side, at least so far as to join in the attack on Daniel. We do 
 not know positively what parts of Patient Grissil were written 
 by Dekker and what by Chettle and Haughton.^ The play 
 was performed at the Rose by the Admiral's company. 
 
 you, what bookes to call for, how to censure of new bookes, how to mew at the 
 old, how to looke in your tables and inquire for such and such Greeke, French, 
 Italian or Spanish authors, whose names you have there, but whom your mother 
 for pitty would not give you so much wit as to understand." Dekker, ed. 
 Grosart, II. 265. 
 III. I. 
 
 2 See Mr. Fleay's Cht-onicle of the English Drama, I. 86, 272. 
 
 3 Mr. Fleay may be correct in his conjecture that Dekker " mainly wrote the 
 scenes in which Laureo and Babulo (the characters not found in the old story) 
 enter, and Chettle the Welsh scenes ; Haughton the remainder, besides helping. 
 Dekker in his part." Chronicle of the English Drama, I. 271. 
 
PATIENT GRISSIL AND JACK DRUM's ENTERTAINMENT. 7 1 
 
 Jack Drum's Entertainmctit, or The Comedy of Pasquil and 
 Katherine is, like Histriomastix, a play which was published 
 anonymously, and is not published among Marston's plays by 
 his editors. As in the case of Histriomastix, the unusual 
 vocabulary employed indicates that Marston was the author.^'* 
 The fact that Jonson, when attacking Marston as Crispinus,^ 
 ridicules passages xnjack Dnun, is additional proof that Mar- 
 ston wrote it. The play was performed in 1600 (" 't is womens 
 yeere,"^ or leap-year) at Whitsuntide. 
 
 Marston probably refers to the attack made on him in the 
 "fustian" conversation between Clove and Orange,^ when he 
 makes Planet say : — 
 
 By the Lord, fustian, now I understand it : complement is as mucli as 
 fustian.^ 
 
 The adventure of Monsieur John fo de King, the licentious 
 Frenchman, with the wife of Brabant Senior, corresponds 
 almost exactly with the first of the "accidents strange" which 
 Jonson related to Drummond.*^ It would be remarkable if, 
 with all the bitter personality of these dramatic satires, there 
 should be no allusion to Jonson's licentiousness, and it is 
 therefore more than likely that the character of Monsieur John 
 fp de King is an attack on Jonson. 
 
 It is possible that Jonson's duel and narrow escape from 
 
 1 Dr. Brinsley Nicholson says, in a note on Jack Drum {Notes and Queries, 
 Series 7, Vol. VII. p. 67), " I was happy to hear from my friend J. O. Hallivvell- 
 Phillipps . . . that a MS. (circa 1620) gives unequivocal testimony to Marston's 
 authorship oi Jack Drurri's Entertainment." 
 
 ^ Poetaster, V. i. 
 
 ^ I. I. The references are to the play as printed by Simpson in The School of 
 Shakspere, II. 
 
 * Every Man out of his Humour, III. i. 
 
 5 III. 1. 87. 
 
 ^ See above, p. 40. 
 
72 THE WAR OF THE THEATRES. 
 
 hanging may be glanced at in the words of Monsieur John fo 
 de King when he is hired by Mammon to kill Pasquil : — 
 
 . . . You see 
 Mee kill a man, you see mee hang like de Bergullian.^ 
 
 Attention has been called ^ to the necessity of revising the 
 punctuation of the passage in the Conversations with Dritm- 
 mojid, in which Jonson states that the beginning of the quar- 
 rel with Marston was that " Marston represented him in the 
 stage." This statement could not refer to Jack Drum, for the 
 date of that play is 1600, whereas the quarrel was bitter in 
 1599, when Jonson attacked Marston's Histriomastix and 
 Satires, and Marston himself as Carlo Buffone. It has been 
 shown ^ that Histriomastix is the play containing the first rep- 
 "^resentation of Jonson by Marston. Jack Drum therefore con- 
 tains Marston's second representation of Jonson. Although to 
 us the character of Monsieur John fo de King does not seem 
 to resemble Jonson, yet stage " business " and mimicry were 
 probably introduced in presenting these plays, so that to the 
 audience it was perfectly clear who was represented. 
 
 The other characters in Jack Drum have been identified in 
 various ways. Simpson conjectured that Brabant Junior was 
 Marston,* an identification which seems probable, especially in 
 view of the allusion to small legs as a proof of gentility. 
 
 Winifruie. Indeed young Brabant is a proper man ; 
 
 And yet his legs are somewhat of the least ; 
 And, faith, a chittie, well-complexion'd face ; 
 And yet it wants a beard ; a good sweet youth ; 
 And yet some say, he hath a valiant breath ; 
 Of a good haire, but oh, his eyes, his eyes \^ 
 
 Simpson thought Brabant Senior a caricature of Jonson,^ 
 
 1 II. 1. 180. * Tke School of Shakspere, II. 128. 
 
 2 Above, p. 40. ^ I. 11. 227-232. 
 
 * Above, p. 41. ® The School of Shakspcre, II. 130. 
 
PATIENT GRISSIL AND JACK DRUM's ENTERTAINMENT. 73 
 
 and in this opinion Mr. Bullen agrees. ^ This identification is 
 based on the following remarks of Planet to Brabant Junior, 
 alluding to Brabant Senior : — 
 
 Deare Brabant, I doe hate these bumbaste wits, 
 
 That are puft up with arrogant conceit 
 
 Of their owne worth ; as if Omnipotence 
 
 Had hoised them to such unequal'd height 
 
 That they survai'd our spirits with an eye 
 
 Onely create to censure from above ; 
 
 When good soules they doe nothing but reprove. ^ 
 
 There is no other resemblance between Brabant Senior and 
 Jonson, and these lines are equally applicable to Hall, whom 
 Mr. Fleay has identified with Brabant Senior, thus making the 
 two Brabants represent the two satirists, Hall and Marston.^ 
 The fact that Hall's satires appeared before Marston's, and 
 that the two satirists were associated in the minds of the 
 people, coupled with the censorious spirit of Brabant Senior 
 and the praise of Brabant Junior, tends to prove Mr, Fleay's 
 identification. 
 
 Sir Edward Fortune has been identified with Edward Alleyn, 
 who was at that time building the Fortune Theatre. Mammon 
 is a usurer. The passage in which Pasquil tears up the bonds 
 suggests the possible identity of Mammon with Sordido, the 
 miser in Every Man out of his Humour. Both are said to use 
 almanacs and are hated by the people.^ 
 
 It has been shown that Sordido is perhaps a representation 
 of Henslowe,^ and it is possible that Mammon may have been 
 intended for the same person. Alleyn was the son-in-law of 
 
 1 The Works of John Ma7-ston., ed. Bullen, I. liv. 
 '^ IV. 11. 316-322. 
 
 3 Chronicle of the English Drama, II. 74. 
 
 * Compare the last scene of Act III. of Jack Drum with what we are told of 
 Sordido in Every Man out of his Hmnour, I. i and III. 2. 
 ^ Above, p. 62. 
 
74 THE WAR OF THE THEATRES. 
 
 Henslowe, but mjack Drum Mammon is the friend, " in hope " 
 the son-in-law of Sir Edward Fortune.^ 
 
 There is a scene in which Planet and the two Brabants criti- 
 cise several poets : — 
 
 Brabant Junior. Brother, how like you of our moderne wits? 
 
 How like you the new poet Mellidus? 
 Brabant Senior. A slight bubling spirit, a corke, a huske. 
 Planet. How like you Musus fashion in his carriage? 
 
 Brabant Senior. O filthilie, he is as blunt as Paules. 
 Brabant Junior. What thinke you of the lines of Decius? 
 
 Writes he not a good cordiall sappie stile ? 
 Brabant Senior. A surreinde jaded wit, but a rubbes on. 
 Planet. Brabant, thou art like a paire of ballance. 
 
 Thou wayest all saving thy selfe.^ 
 
 The comments of Brabant Senior are in keeping with the 
 tone of Hall's Satires. Mellidus is probably Marston, who 
 had evidently written the first part of Antonio and Mellida. 
 The fact that we have in Jack Drum an allusion to Antonio and 
 Mellida, and that in the latter play there is a reference to 
 Cynthia s Revels,'^ indicates the order in which these three 
 plays, all of the date 1600, were performed. Simpson conjec- 
 tured that Musus, "as blunt as Paules," was "either Chap- 
 man, who, as Chettle says, ' finished sad Musaeus' gracious 
 song,' or Daniel, whom Drayton, in Endiynion and Pha^be, 
 1594, calls 'the sweet Musaeus of these times.' "* It is more 
 likely that Daniel was meant by Musus, for the criticism seems 
 to be more applicable to him than to Chapman. Decius is 
 Drayton, who is called by that name in an epigram by Sir 
 John Davies.^ 
 
 1 I. 1. 74. 2 IV. 11. 37-46. 
 
 3 This reference to Cynthia's Revels will be discussed below in treating of 
 Antonio and Mellida. 
 
 * The School oj Shakspere, II. 131. 
 
 sin Idea, Sonnet XVIII, Drayton speaks of his Mistress as a "tenth" muse. 
 To this Sir John Davies refers in the epigram : — 
 
PATIENT GKISSIL AND JACK DRUM's ENTERTAINMENT. 75 
 
 Mr. Fleay makes a number of guesses as to the identity of 
 other characters in the play. " Timothy Tweedle seems very 
 like Antony Monday, and Christopher Flawn I take to be 
 Christopher Beeston. John Ellis, with his similes, is a gross 
 caricature of John Lyly. . . , Pasquil is perhaps Nicholas 
 Breton "1 or Nashe. Simpson remarks that " Planet, to whom 
 the sceptre of criticism seems to be tacitly conceded, one 
 hopes may have been meant for Shakspere."^ There seems 
 to be no positive proof of the correctness of any of these 
 conjectures. 
 
 In Deciitni. 
 
 Audacious painters have nine worthies made, 
 But Poet Decius more audacious farre. 
 Making his Mistresse march with men of warre 
 With title of tenth worthie doth her lade. 
 
 Sir John Davks, ed. Grosart, II. 24. 
 
 ^ Chronicle of the English Drama, II. 74. 
 ^ The School of Shakspere, II. 131. 
 
VI. 
 
 CYNTHIA'S REVELS. 
 
 Merely as a play, Cynthia s Revels is perhaps the least 
 interesting that Jonson wrote, but as a personal satire it has 
 great interest on account of its directness. The object of the 
 play was to satirize the same four men that were attacked in 
 Every Man out of his Hii^nonr. They are probably the four to 
 whom Dekker refers in the following lines in Satiromastix : — 
 
 I wonder then, that of five hundred, foure 
 Should all point with their fingers in one instant 
 At one and the same man.^ 
 
 That Dekker was not himself one of the four is indicated (as 
 will be seen from the context) by the fact that it is Demetrius 
 (Dekker) who speaks the lines. We have shown that in Eveiy 
 Man out of his HiunourVciQ men attacked were Marston, Daniel, 
 Lodge, and Monday. In Cynthia s Revels these men are repre- 
 sented respectively as Anaides, Hedon, Asotus, and Amorphus ; 
 Crites is of course Jonson. The characters appear usually in 
 pairs, Anaides and Hedon, and Asotus and Amorphus. These 
 two pairs are not on good terms with each other, but are unani- 
 mous in their dislike of Crites. The female characters may be 
 considered wholly allegorical, but they are none the less satiri- 
 cal as bearing the names of the follies which characterize 
 their respective gallants. 
 
 1 The Drainatic Works of Thomas Dekker, now first collected with illustrative 
 notes and a memoir of the author, published by John Pearson, London, 1873, 
 I. 108. 
 
CYNTHIA S REVELS. JJ 
 
 Cynfhias Revels has come down to us in two forms. The 
 quarto (1601) probably gives the play as it was presented at 
 court, and is much shorter than the folio (1616).^ 
 
 Anaides (Marston) is closely associated with Hedon (Daniel) 
 throughout the play, and together they plot against Crites 
 (Jonson). In the Induction Anaides is spoken of as "the Im- 
 pudent, a gallant." When Anaides first appears (II. i) he has 
 more oaths than he " knows how to utter." Mercury says 
 that Anaides, although not a courtier, — 
 
 ... has two essential parts of the courtier, pride and ignorance ; marry, 
 the rest come somewhat after the ordinary gallant. 'Tis Impudence itself, 
 Anaides : one that speaks all that comes in his cheeks, and will blush no 
 more than a sackbut. He lightly occupies the jester's room at the table,'- and 
 keeps laughter, Gelaia, a wench in page's attire, following him in place of a 
 squire, whom he now and then tickles with some strange ridiculous stuff, 
 uttered as his land came to him, by chance. He will censure or discourse 
 of anything, but as absurdly as you would wish. His fashion is not to take 
 knowledge of him that is beneath him in clothes.^ He never drinks below 
 the salt. He does naturally admire his wit that wears gold lace or tissue ; 
 stabs any man that speaks more contemptibly of the scholar than he.* He 
 is a great proficient in all, the illiberal sciences, as cheating, drinking, swag- 
 gering, whoring, and such like : never kneels but to pledge healths,^ nor 
 
 1 The citizen and his wife (V. 2) do not appear in the quarto, and the second of 
 the games, "A thing done and who did it" (IV. i), is likewise not in the quarto. 
 The first two-thirds of the last act appeared in print for the first time in the folio. 
 The play may have been " cut " for court presentation, giving us the text as printed 
 in the quarto, or additions may have been made later, giving the text as printed in 
 the folio. This play was first acted by the Chapel children at Blackfriars theatre 
 in 1600. Jonson was no longer writing for the Chamberlain's company, by whom 
 Every Man in his Humour and Every Man out of his Humour were presented. 
 
 2 Anaides, " the jester," is the same man as Carlo Buffone (the buffoon) in Every 
 Man out of his Humour. Both are Marston (see above, p. 46, note). 
 
 3 Evidently referring to Marston's contempt for Jonson, whose coarse clothes 
 were often ridiculed. 
 
 * The scholar was probably Jonson. 
 
 ^ Mention was made above (p. 50, note) of the connection between this state- 
 ment and the passage {Every Man out of his Hu7nour, V. 4) in which Carlo drinks 
 a health kneeling. An interesting passage occurs in A Yorkshire Tragedy (I. i): — 
 
78 THE WAR OF THE THEATRES. 
 
 prays but for a pipe of pudding-tobacco. He will blaspheme in his shirt. 
 The oaths which he vomits at one supper would maintain a town of garrison 
 in good swearing a twelvemonth. One other genuine quality he has which 
 crowns all these, and that is this : to a friend in want, he will not depart 
 with the weight of a soldered groat lest the world might censure him prodi- 
 gal, or report him a gull : marry, to his cockatrice, or punquetto, half a 
 dozen taffata gowns or satin kirtles in a pair or two of months, why they 
 are nothing. ^ 
 
 The character here described agrees with that of Carlo 
 Buffone. The hostility of Anaides and Hedon to Crites is set 
 forth at length in a scene (III. 2) which must have displeased 
 the audience, who saw Crites in close consultation with Arete 
 immediately after Anaides and Hedon had declared that they 
 would " undo " Crites. Anaides suggests (III. 2) that they 
 get Crites " in, one night, and make him pawn his wit for a 
 supper" for the party, a proceeding which had probably been 
 executed successfully on more than one occasion by Marston 
 and his friends, as may perhaps be inferred from the title 
 "Anaides of the ordinary," but more directly from the descrip- 
 tion of Carlo Buffone as " a good feast-hound or banquet-beagle, 
 that will scent you out a supper some three miles off." ^ 
 
 Anaides tells Hedon to annoy Crites by attacking his works, 
 and suggests the following plan : — 
 
 Approve anything thou hearest of his, to the received opinion of it; but 
 if it be extraordinary, give it from him to some other whom thou more 
 particularly affect'st ; that's the way to plague him, and he shall never come 
 
 "Sam. ... I '11 teach you the finest humour to be drunk in ; I learned it in 
 London last week. 
 
 " I>(>(/i. V faith ? Let 's hear it. 
 
 "Sam. The bravest humour! 'twould do a man good to be drunk in it ; they 
 call it knighting in London, when they drink upon their knees." 
 
 1 Marston was attacked in this play for licentiousness ; and in his next play, Jack 
 Drum, produced probably immediately after this play of Jonson's, he retaliated 
 by satirizing Jonson for licentiousness (see above, p. 71). 
 
 2" Character" of Carlo Buffone, prefixed to Every Man out of his Humour. 
 
CYNTHIA S REVELS. 79 
 
 to defend himself. 'Slud, I '11 give out all he does is dictated from other 
 men, and swear it too, if thou 'It have me, and that I know the time and 
 place where he stole it.^ 
 
 The suggestion of Anaides probably indicates that this 
 mode of attack on Jonson had been employed by his enemies, 
 perhaps in reply to the accusations against Daniel made in Every 
 Man in his Humour (IV. i), where Master Mathew "utters 
 nothing but stolen remnants," and filches "from the dead." 
 It is this plan of Anaides that Mr. Fleay thinks "conclusive as 
 to the identity of Anaides, and therefore of Carlo Buffone, with 
 Demetrius (Dekker). ' I know the time and place where he 
 stole it,' says Anaides ; 'I know the authors from whence he 
 has stole, and could trace him too,' says Demetrius "^ {Poet- 
 aster, V. i). 
 
 Demetrius is certainly Dekker, and, except the statement 
 just quoted, has nothing whatever in common with Anaides 
 and Carlo, who are just as certainly Marston. We may ex- 
 plain the identity of the charges brought against Crites and 
 Horace by Anaides and Demetrius as being due to the instiga- 
 tion of the original of Anaides (Marston), who, in the passage 
 under consideration, is represented as deliberately getting 
 others, Hedon in this case, to spread this accusation. Deme- 
 trius (Dekker) who was " hired " to abuse Horace, simply 
 repeated a charge which had become a common means of 
 annoying Jonson. The reply of Crites to the suggestion of 
 Anaides, which was overheard, "Do good Detraction do," is 
 perhaps a reference to Marston's dedication of The Scourge 
 
 1 III. 2. Perhaps the statement recorded by Drummond may have been inspired 
 by a similar charge made against Jonson : " Marston wrott his Father-in-lawes 
 preachings, and his Father-in-law his Commedies." Jonson^s Conversations with 
 Drummond, p. i6. Marston married a daughter of WiUiam Wilkes, chaplain 
 to James I. 
 
 - Chronicle of the English Drama, I. 364. On p. 365 Anaides is again identified 
 with Dekker. 
 
80 THE WAR OF THE THEATRES. 
 
 of Villanie " To his most esteemed and best beloved Self." 
 The opening poem is headed, " To Detraction I present my 
 Poesie." In the same speech (III. 2) in which Crites calls 
 Anaides "Detraction," we find Hedon and Anaides described 
 respectively as — 
 
 The one a light voluptuous reveller, 
 The other, a strange arrogating puff, 
 Both impudent and ignorant enough. 
 
 Dekker quotes these lines in Satironiastix'^ as if they referred 
 to Crispinus (Marston) and Demetrius (Dekker). As no attack 
 on Dekker had been made in Cynthia s Revels, he appro- 
 priated to himself lines which referred to another of Jonson's 
 enemies. 
 
 The mistress of Anaides is Moria, a relationship which indi- 
 cates Jonson's opinion of Marston. In the scene (IV. i) in 
 which the four mistresses talk over the merits of the four 
 gallants, Anaides is criticised for having a voice " like the 
 opening of some justice's gate, or a post-boy's horn" ; his face 
 is "like a sea-monster," but his worst fault seems to be that 
 " he puts off the calves of his legs, with his stockings every 
 night." This is another allusion to Marston's small legs, the 
 sign of gentle birth. In the game "substantives and adjec- 
 tives" (IV^. i), Anaides gives as his adjective "white-livered," 
 and explains, "white-livered breeches" by — 
 
 Why ! are not their linings white .'' besides, when they come in swagger- 
 ing company, and will pocket up anything, may they not properly be said to 
 be white-livered ? 
 
 The unusual adjective is entirely in keeping with the general 
 style of Marston's vocabulary. Amorphus and Anaides quarrel 
 (IV. i), as Puntarvolo and Carlo did in Every Man out of Ins 
 Hunionr, and Anaides goes out with the characteristic language, 
 
 1 The Dramatic Works of Dekker, I. 195. 
 
Cynthia's revels. 8i 
 
 " I will garter my hose with your guts." The last word seems 
 to have been a favorite with Marston, if we may judge from his 
 frequent use of it in his works. 
 
 Anaides boasts (IV. i) that he has "put down" Crites "a. 
 thousand times" and yet " never talked with him but twice." 
 
 I could never get him to argue with me but once ; and then because I 
 could not construe an author I quoted at first sight, he went away and 
 laughed at me. 
 
 This may refer to some actual incident, for we know of Jon- 
 son's pedantry, and of his contempt for all who were not 
 familiar with the classics. Anaides tells Amorphus (V. 2) to 
 " disgrace this fellow [Crites] in the black stuff." " He is a 
 scholar besides. You may disgrace him here with authority." 
 As Amorphus is Anthony Monday, probably at this time 
 pageant-poet,^ there may be some significance in the fact that 
 Anaides tries to get him to disgrace Crites. Throughout the 
 play the sole object of Anaides is to injure Crites. In the 
 character we have Jonson's second representation of Marston. 
 This is proved by the close resemblance of Anaides to Carlo 
 Buffone, and by the fact that in Satironiastix Dekker quotes, 
 as referring to Crispinus (Marston), lines in Cynthia s Revels 
 which refer to Anaides. 
 
 In Hedon we have Jonson's third representation of Daniel, 
 who appeared in the previous plays as Master Mathew and 
 Fastidious Brisk. Hedon is " a gallant wholly consecrated to 
 his pleasures," as may be inferred also from the name of his 
 mistress, Madam Philautia. 
 
 He doth . . . keep a barber and a monkey ; he has a rich wrought 
 waistcoat to entertain his visitants in, with a cap almost suitable. His cur- 
 tains and bedding are thought to be his own : his bathing-tub is not sus- 
 pected. He loves to have a fencer, a pedant, and a musician seen in his 
 lodging a-mornings. . . . Himself is a rhymer, and that 's thought better 
 
 1 See above, p. 38. 
 
82 THE WAR OF THE THEATRES. 
 
 than a poet. . . . He is thought a very necessary perfume for the presence, 
 and for that only cause welcome thither : six milliner's shops afford you not 
 the like scent. He courts ladies with how many great horse he hath rid that 
 morning, or how oft he hath done the whole or half the pommado in a 
 seven-night before.^ 
 
 The last statement reminds us of the boasts of Fastidious Brisk 
 about his horses and riding.^ 
 
 Jonson seems never to have lost an opportunity to attack 
 Daniel, and in the Epistle to Elizabeth, Countess of Rutland, 
 refers to him as a "verser," or "poet, in the court account." 
 He told Drummond that Daniel was "no poet."^ When 
 Hedon and Anaides appear (II. i), Hedon is rejoicing because 
 he has invented two new " courtier-like " oaths, " By the tip 
 of your ear, sweet lady " and " By the white valley that lies 
 between the alpine hills of your bosom." He is devoted to 
 Philautia, whom he calls his " Honour," while she styles him 
 her " Ambition " (IV. i).* Of course the ambition of Philautia 
 (self-love) is Hedon (pleasure). There is much of this play 
 upon the meanings of the names of the characters. Daniel 
 was on terms of intimacy with many noble ladies, a fact which 
 was alluded to in treating of Fastidious Brisk,^ and it is per- 
 haps in allusion to Daniel's verses to ladies that Asotus says 
 (III. i) that he has " heard Hedon spoke to for some " (verses). 
 
 III. I. 
 
 "^ Every Man out of his Humour, II. i. In the " Character," prefixed to the 
 play, it is said that Fastidious Brisk " will borrow another man's horse to praise, 
 and backs him as his own." 
 
 ^ Jo7ison''s Conversations with Drtimviond, p. 2. 
 
 * " Ambition " and " Honour " may perhaps be allusions, the force of which is 
 lost upon us, to several uses of the words in the sonnets to Delia ; such as 
 "ambition-reared walls," Sonnet XLII. ; "ambitious thoughts," Sonnet XII.; 
 "unambitious muse," Sonnet LV. ; "honour" is used in Sonnets XIX., L., and 
 LV. There may be some hidden significance in the word " barbarous," given by 
 Hedon in the game "substantives and adjectives" (IV. i). Daniel uses the 
 word in Sonnet XLII., " barb'rous hand." 
 
 ^ See above, p. 54. 
 
Cynthia's revels. 83 
 
 Philautia says (IV. i), "I should be some Laura or some 
 Delia." Mr. Fleay has noticed ^ this evident allusion to Son- 
 net XLIII.2 to Delia, in which Daniel says of Delia — 
 
 Though thou, a Laura, hast no Petrarch found, 
 and also in the same sonnet — 
 
 For though that Laura better limned be. 
 Delia is referred to again when Crites says to Hedon (V. 2) : — 
 
 Nay, stay, my dear Ambition. I can do you over too. You that tell 
 your mistress, her beauty is all composed of theft ; her hair stole from 
 Apollo's goldy-locks ; her white and red, lilies and roses stolen out of Para- 
 dise -, her eyes two stars, plucked from the sky ; her nose the gnomon of 
 Love's dial, that tells you how the clock of your heart goes ; and for her 
 other parts, as you cannot reckon them, they are so many ; so you cannot 
 recount them, they are so manifest.^ 
 
 Sonnet XIX. to Delia is as follows : — 
 
 Restore thy tresses to the golden Ore, 
 
 Yeeld Cithereas sonne those Arkes of love ; 
 
 Bequeath the heavens the starres that I adore, 
 
 And to th' Orient do thy Pearles remove, 
 
 Yeeld thy hands pride unto th' Ivory white, 
 
 T' Arabian odors give thy breathing sweete : 
 
 Restore thy blush unto Aurora bright. 
 
 To Thetis give the honour of thy feete. 
 
 Let Venus have thy graces, her resign'd. 
 
 And thy sweet voice give back unto the Spheares : 
 
 But yet restore thy fierce and cruell mind. 
 
 To Hyrcan Tygres, and to ruthles Beares. 
 
 Yeeld to the Marble thy hard hart againe ; 
 
 So shalt thou cease to plague, and I to paine.'* 
 
 1 Chronicle of the English Drama, L 96. ^ Daniel, ed. Grosart, L 65. 
 
 8 Perhaps the point of the criticism is that the beauties are stolen. Jonson 
 accused Daniel of plagiarism when he drew the character of Master Mathew, who 
 uttered "nothing but stolen remnants" (see above, p. 27). The whole passage 
 is a criticism on Italianate poetry, in which such comparisons were common, and 
 lines almost precisely similar to the sonnet of Daniel might be cited from the works 
 of other authors of the time. * Daniel, ed. Grosart, L 49. 
 
84 THE WAR OF THE THEATRES. 
 
 Daniel's position as a court poet is alluded to (III. i) when 
 Asotus says to Amorphus, who was instructing him in court 
 ways, " How if they would have me to make verses .-' I heard 
 Hedon spoke to for some." 
 
 Hedon sings to his mistress (IV. i) a song entitled " The 
 Kiss," and says : " I made this ditty and the note to it, upon 
 a kiss that my Honour gave me." Amorphus criticises the 
 song, and speaks of the " long die-note" as being "too long." 
 One of the constant boasts of Fastidious Brisk is that he had 
 kissed the hand of a countess. When Hedon speaks a few 
 words of Italian (V. 2), we have perhaps an allusion to the fact 
 that both Hedon (Daniel) and Amorphus (Monday) had traveled 
 in Italy.i In HI. 2, Anaides addresses Hedon as " my dear 
 Envy." Poetaster opens with Envy arising in the middle of 
 the stage and making a speech against the author. These two 
 facts have been connected, and it has been thought that per- 
 haps Daniel was meant by the Envy Prologue to Poctaste)-? 
 
 1 Sonnet LII. to Delia is entitled " At the Author's Going into Italy," Daniel, 
 ed. Grosart, I. 71. Monday has left an account of his travels in- Italy in his 
 English Ro7nayne Life (1582). 
 
 '■^ There can be no reasonable doubt that Daniel was the man represented in 
 the character of Hedon. There are, however, critics who hold a different opinion 
 concerning Hedon. Mr. C. H. Herford says : " It can hardly be doubted that 
 Hedon, ' the light voluptuous reveller ' in Cynthia's Revels, is Marston, but the 
 character, like that of his companion, Anaides, is to our eyes kept studiously with- 
 in the limits of the abstract and typical satire by which no man's withers are wrung. 
 The portrait was, nevertheless, sufficiently accurate to be fiercely resented, and 
 Marston and his crew prepared an elaborate revenge." Ben Jonson, ed. Brinsley 
 Nicholson, Mermaid Series, Introductory Essay by C. H. Herford, p. x.xi.x. 
 No comment is necessary, for we have shown that Anaides is Marston and Hedon 
 is Daniel. It seems somewhat of a contradiction when a critic describes a charac- 
 ter as " abstract and typical satire by which no man's withers are wrung," and pro- 
 ceeds in the next sentence to say that the character was " sufficiently accurate to be 
 fiercely resented." Jonson's characters, when satirical, are both concrete and per- 
 sonal, as is shown by the antagonism which they excited. Mr. Herford makes the 
 following statement, which seems at variance with his opinions quoted above : " Of 
 his enmities The Poetaster remained, so far as we have certain evidence, the last, 
 as it was the first, direct dramatic expression" {ibid., p. liii). The common mis- 
 
Cynthia's revels. 85 
 
 Asotus is described by Hedon (IV. i) as "some idle Fun- 
 goso that hath got above the cupboard since yesterday." This 
 identifies Asotus with Fungoso in Every Man out of his Humour 
 and therefore with Lodge. ^ Asotus is described in the Induc- 
 tion as — 
 
 a citizen's heir, Asotus, or the Prodigal, who, in imitation of the traveller 
 [Amorphus], who hath the Whetstone [Cos] following him, entertains the 
 Beggar [l^rosaites], to be his attendant. 
 
 Amorphus, when about to meet Asotus, is in doubt how to 
 address him, whether 
 
 to talk of some hospital whose walls record his father a benefactor ? or of 
 so many buckets bestowed on his parish church in his life time, with his 
 name at length, for want of arms, trickt upon them ? any of these. Or to 
 praise the cleanness of the street wherein he dwelt 'i or the provident paint- 
 ing of his posts, against he should have been praetor? or leaving his parent, 
 come to some special ornament about himself, as his rapier, or some other 
 of his accoutrements ? ^ 
 
 These references to the father of Asotus agree substantially 
 with the facts concerning Sir Thomas Lodge, the father of the 
 poet. Sir Thomas Lodge was a wealthy grocer who was 
 alderman of Cheap Ward in 1553, sheriff in 1556, and Lord 
 Mayor of London in 1563, — a fact to which Jonson alludes, 
 when he tells us that Philargyrus, the father of Asotus, 
 "was to have been praetor next year." He left in his 
 
 take concerning Dekker is made by Mr. Herford when he says : " It is certain that 
 both Dekker and Marston were portrayed in the Hedon and Anaides of Cynthici's 
 Revels." The Dictionary of National Biography, XXX. 182. Dr. Cartwright 
 identifies Hedon with Marston and Anaides with Dekker, Shakespeare and Jonson, 
 Dramatic versus IVit Combats, p. 17. Simpson states that Cynthia'' s Revels was 
 " written against Marston and Dekker, who figure in it as Hedon and Anaides." 
 The School of Shakspere, H. 129. Mr. Bullen says "It is certain that [in the 
 characters of Anaides and Hedon] Jonson was glancing particularly at Marston 
 and Dekker." Marston, I. p. xxxiii. 
 
 1 See above, p. 56, for the identification of Fungoso with Lodge. 
 
 2L I. 
 
86 THE WAR OF THE THEATRES. 
 
 will five pounds for the poor in Westham, Essex. ^ The 
 " painting of his posts " has reference to the fact that Lodge's 
 father was sheriff.'^ The passage in which Asotus is de- 
 scribed by Mercury contains the description of Amorphus 
 also. As they are closely associated, the whole passage is 
 given here. Mercury says : — 
 
 A notable smelt. One that hath newly entertained the beggar [Prosaites] 
 to follow him, but cannot get him to wait near enough. 'Tis Asotus, the 
 heir of Philargyrus ; but first I '11 give ye the other's character, which may 
 make his the clearer. He that is with him is Amorphus, a traveller, one so 
 made out of the mixture of shreds of forms that himself is truly deformed. 
 He walks most commonly with a clove or pick-tooth in his mouth, he is the 
 very mint of compliment, all his behaviours are printed, his face is another 
 volume of essays, and his beard is an Aristarchus. He speaks all cream 
 skimmed, and more affected than a dozen waiting-women. He is his own 
 promoter in every place. The wife of the ordinary gives him his diet to 
 maintain her table in discourse ; which indeed is a mere tyranny over her 
 other guests, for he will usurp all the talk : ten constables are not so tedious. 
 He is no great shifter ; once a year his apparel is ready to revolt. He 
 doth use much to arbitrate quarrels, and fights himself, exceeding well, 
 out at a window. He will lie cheaper than any beggar, and louder than 
 most clocks : for which he is right properly accommodated to the Whet- 
 stone, his page. The other gallant is his zany, and doth most of these tricks 
 after him ; sweats to imitate him in everything to a hair, except a beard, 
 which is not yet extant. He doth learn to make strange sauces, to eat 
 anchovies, maccaroni, bovoli, fagioli, and caviare, because he loves them ; 
 speaks as he speaks, looks, walks, goes so in clothes and fashion ; is in all 
 as if he were moulded of him. Marry, before they met, he had other very 
 pretty sufficiencies, which yet he retains some light impression of ; as fre- 
 quenting a dancing school, and grievously torturing strangers with inquisi- 
 tion after his grace in his galliard. He buys a fresh acquaintance at any 
 rate. His eyes and his raiment confer much together as he goes in the 
 
 ^ The facts concerning Sir Thomas Lodge are given by Mr. Charles Welch in 
 The Dictionary of Ahitional Biography, XXXIV. 59. 
 
 2 At the door of the sheriff's house were posts on which proclamations were 
 " posted." In Twelfth Night (I. 5) Malvolio says of Viola, " he '11 stand at your 
 door like a sheriff's post." 
 
Cynthia's revels. 87 
 
 street. He treads nicely, like the fellow that walks upon ropes, especially 
 the first Sunday of his silk stockings ; and when he is most neat and new. 
 you shall strip him with commendations.^ 
 
 The tailor's bill, which was made so prominent in the career 
 of Fungoso^ is not referred to in connection with Asotus, unless, 
 indeed, it is glanced at in several passages, as when Asotus is 
 said (IV. I) to " look like a tailor . . . that hath sayed on one 
 of his customer's suits." 
 
 In the relations of Argurion to Asotus we have a delightfully 
 satirical account of the fortunes of Lodge, whose father was a 
 very wealthy man,^ — a fact which makes significant the name 
 assigned him, Philargyrus, and also the advice given to Asotus 
 by Amorphus : — 
 
 That was your father's love, the nymph Argurion. I would have you 
 direct all your courtship thither ; if you could but endear yourself to her 
 affection, you were eternally engallanted.* 
 
 It is quite evident from this that Lodge was not rich, a fact 
 which we know from other sources, for his father makes no 
 mention of his son Thomas in his will, and the poet speaks of 
 himself as <'poor to the world." ^ Argurion is enamoured of 
 Asotus, and gives him jewels (IV. i) which he afterwards gives 
 to Hedon. When Argurion sees that Asotus is false to her 
 (IV. i) .she faints, and is carried out by Morus and Asotus, 
 
 111. I. The description of Asotus is in accord with the characterization of 
 Lodge by Gosson, who speaks of "one in wit simple; in learning ignorant; in 
 attempt rash ; in name Lodge." Plays Confuted in Five Actions. 
 
 '^ See above, p. 56. 
 
 3 Sir Thomas Lodge, in 1 553, received a sum of ;i^i 5,426, paid to him and other 
 merchants in consideration of money advanced by them to the Queen (State 
 Papers, For. Ser., 1553-58, p. 30). He became surety for redeeming Sir Henry 
 Palmer, prisoner in France, and seems to have been able by his wealth to aid the 
 Queen in many ways. 
 
 *IV. I. 
 
 5 Phillis Honoured with Pastoral Sonnets, Sonnet XL., Hunterian Club Reprint, 
 
 P- 57- 
 
88 THE WAR OF THE THEATRES. 
 
 while Mercury remarks : " Well, I doubt all the physic he has 
 will scarce recover her; she's too far spent." The play on 
 the word " Argurion " is clear. We have here another allusion 
 to the career of Lodge, who, after engaging in various pursuits, 
 began the study of medicine in 1 596, and was granted the 
 degree Doctor of Physic, at Avignon, in 1600.^ Lodge's later 
 books bear on the title-page his name, with the title, " Doctor 
 of Physic." The remark of Mercury means that Lodge's 
 knowledge of medicine will never bring him money. Two 
 more descriptions of Asotus are given. One by Argurion 
 (IV. i) represents him as "a most delicate youth ; a sweet 
 face, a straight body, a well-proportioned leg and foot, a white 
 hand, a tender voice." To this Philautia and Phantaste add 
 comments concerning his nose, hair, and eyes, and say that "he 
 would have made a most neat barber-surgeon." The other 
 description is where Crites, after the absurd challenge has been 
 issued by Amorphus and Asotus (V. 2) says to Mercury : — 
 
 Sir, this [Asotus] is the wight of worth that dares you to the encounter. 
 A gentleman of so pleasing and ridiculous a carriage ; as even standing, 
 carries meat in the mouth, you see ; and, I assure you, although no bred 
 courtling, yet a most particular man, of goodly havings, well fashioned 
 'haviour, and of as hardened and excellent a bark as the most naturally 
 qualified amongst them, informed, reformed, and transformed from his 
 original citycism. 
 
 In the challenge (V. 2) Asotus is called Acolastus Polyprag- 
 mon^ Asotus (Unwhipped^ Jack-of-all-trades Prodigal), a name 
 peculiarly fittting to Lodge, whose various professions have 
 been alluded to. We do not know the cause of Jonson's hos- 
 tility to Lodge. It seems that Jonson intended to make the 
 
 1 See Mr. Sidney Lee's account of Lodge's life in TAe Dictionary of National 
 Biography, XXXIV. 60. 
 
 2 TroXvirpdyfiiov generally means " a busybody." The translation " Jack-of-all- 
 trades " seems more appropriate here. 
 
 ^ cf. Shakespeare's use of the word " unwhipped." Lear, IIL 2, 53. 
 
Cynthia's revels. 89 
 
 identification of Asotus certain, for when Phantaste calls 
 Asotus " our gold-finch," we have probably an allusion to the 
 name " Golde," by which Lodge anagrammatically calls himself 
 in a pastoral dialogue addressed to Rowland (Drayton) in A 
 Fig for Motmis, i595-^ 
 
 "This silent gentleman," Asotus (IV. i), is the same as 
 Fungoso, " Kinsman to Justice Silence," in Every Man out of 
 /lis Humour (V. 2).2 When Asotus says (V. 2) — 
 
 As buckets are put down into a well, 
 Or as a schoolboy . . . 
 
 he is interrupted by Crites with the exclamation — 
 
 Truss up your simile, Jackaw ! 
 
 The editors of Jonson have not noted that this is a criticism of 
 an epigram by Sir John Davies.^ 
 
 Asotus is brother of the citizen's wife (V. 2). The citizen 
 and his wife are the same persons as Deliro and Fallace in 
 Every Man out of his Humour, and as Albius and Chloe in . 
 Poetaster. Fungoso is brother of Fallace. 
 
 The character of Amorphus as described by Mercury has 
 been quoted above. We learn further concerning him, that he 
 is a great traveller, and has been to Italy ; speaks Spanish and 
 Italian (I. i). Amorphus says of himself : — 
 
 1 A Fig for Momus, Eclogue 3, Hunterian Club Reprint, p. 23. 
 
 2 Chronicle of the English Drama, Fleay, I. 364. 
 
 XXIX. /« Hayuwdum. 
 Haywood which did in epigrams excell 
 Is now put down since my light muse arose, 
 As buckets are put down into a well, 
 Or as a schoolboy putteth down his hose. 
 
 Sir John Davies, ed. Grosart, II. 29. 
 
 This epigram is thus alluded to by Sir John Harington in Metamorphosis of 
 Ajax, 1 596 : " Haywood for his proverbs and epigrams is not yet put down by any 
 of our country, though one doth indeed come near him, that graces him the more 
 in saying he puts him down." 
 
90 THE WAR OF THE THEATRES. 
 
 But, knowing myself an essence so sublimated and refined by travel ; of 
 so studied and well-exercised a gesture ; so alone in fashion ; able to render 
 the face of any statesman living ; ^ and to speak the mere extraction of 
 language ; one that hath now made the sixth return upon venture ; ^ and 
 was your first that ever enriched his country ,with the true laws of the 
 duello ; ^ whose optics have drunk the spirit of beauty in some eightscore 
 and eighteen princes' courts where I have resided, and been there fortunate 
 in the amours of three hundred forty and five ladies, all nobly, if not princely, 
 descended ; whose names I have in catalogue. 
 
 Amorphiis is fond of using foreign phrases and of boasting 
 of his travels. He is the teacher of Asotus in those things that 
 pertain to courtier-like conduct. The absurd language of court- 
 ship, which Amorphus teaches Asotus to use (III. 3), is similar 
 to that employed by Puntarvolo in Every Man out of his 
 Humour (II. i). Phantaste says that " the traveller Amorphus " 
 
 ^ It will be shown that Amorphus is probably Anthony Monday, who was an 
 actor as well as a playwright. It is probable that this passage alludes to the ability 
 of Monday to imitate on the stage the appearance and actions of other people. 
 Amorphus gives an exhibition of his powers of imitation in Act II. Sc. i. It was 
 a common thing in plays thus to amuse the spectators. Cf. The Return from 
 Parnassus, IV. 3, where Kemp gives such an exhibition. 
 
 2 Amorphus is the same man as Puntarvolo in Every Man out of his Humour. 
 Cf. Puntarvolo's proposed trip to Constantinople " upon venture." 
 
 ^ Mr. Fleay says : " Amorphus, the Deformed Traveller, who ' enriched his 
 country with the true laws of the duello' (I. i), must have been the translator of 
 Saviolo's Practise, S. R. 1594, Nov. 19. I think Barnaby Rich is the man." 
 Chronicle of the English Drama, I. 363. Mr. Fleay is probably right in the first 
 statement. We do not know what reasons he has for the second regarding the 
 identity of the translator. If Saviolo's Practise is referred to in the passage under 
 consideration, it is possible that Jonson's play may enable us to determine the 
 identity of the hitherto unknown translator. There is almost conclusive evidence 
 that Amorphus is Anthony Monday, and an examination of the works of Monday, 
 who translated many books from Italian, French, and Spanish, shows that the 
 translation of Saviolo's Practise would have been entirely in accord with what we 
 know him to have done. There is no reason for supposing that Jonson had any 
 quarrel with Barnaby Rich, or cause to satirize him, as must have been the case if 
 he is represented as Amorphus. There is no evidence whatever that Barnaby Rich 
 translated Saviolo. No translator is named on the title-page of Saviolo's Practise, 
 printed by John Wolfe, London, 1 595, quarto. 
 
CYNTHIA S REVELS. 9I 
 
 is the " properest " of the gallants, and Philautia says that he 
 " looks like a Venetian trumpeter in the battle of Lepanto, 
 in the gallery yonder ; and speaks to the tune of a country 
 lady, that comes ever in the rearward or train of a fashion." 
 When Mercury says (II. i), " Amorphus, a traveller, one so 
 made out of the mixture of shreds of forms, that himself is 
 truly deformed," the interpretation may be found, perhaps, in 
 the following statement of Antonio Balladino (Anthony Mon- 
 day): "Why, I'll tell you, Master Onion, I do use as much 
 stale stuff, though I say it myself, as any man does in that 
 kind, I am sure. Did you see the last pageant I set forth ? " ^ 
 In the game "substantives and adjectives" (IV. i), the ad- 
 jective suggested by Amorphus is " pythagorical," which is 
 one of the "fustian " words ridiculed by Clove in Every Man 
 out of his Humour (III. i).^ Marston is not the only writer 
 whose vocabulary is ridiculed by Jonson, for, as has been 
 shown, some of the " fustian " not found in Marston's works 
 is put into the mouth of Brisk and Puntarvolo. Amorphus, 
 like Puntarvolo,^ uses "optic" (I. i), a "fustian" word of 
 Clove's. Of the words disgorged by Crispinus {Poetaster,\ . i) 
 Amorphus uses "retrograde" (V. 2) and Critesuses "reciprocal" 
 (I. i).* The language of Amorphus is ridiculed in many pas- 
 sages, and when his use of "ingenious," "acute," and "polite" 
 is ridiculed, Hedon says (IV. i ) that Amorphus " cannot speak out 
 of a dictionary method." The word " arride," used by Amorphus 
 (III. 3; IV. i), is ridiculed when used by Fastidious Brisk.^ 
 Amorphus uses " intrinsecate " (V. 2), one of the "new-minted 
 epithets" attacked by Marston in The Scourge of Villanie^ 
 
 1 The Case is Altered, I. i . 
 
 2 See above, p. 51- 
 
 * Every Man out of his Humour, II. i. 
 
 * Amorphus uses "reciprocally," IV. i. 
 
 * Every Man out of his Humour, II. i. 
 
 * See above, p. 5. 
 
92 THE WAR OF THE THEATRES. 
 
 The facts concerning Amorphus agree in many particulars 
 with what we know about Anthony Monday, who was attacked 
 by Jonson as Antonio Balladino in The Case is Altered} and as 
 l\nitarvolo in Every Man out of his Hninoiir. The proof of 
 the latter identification is largely dependent on the evident 
 identity of Puntarvolo and Amorphus. ^ Amorphus boasts of 
 his travels, and of the distinguished people he has met. He 
 has been to Italy and France, and has a knowledge of various 
 languages.^ Anthony Monday went to Rome in 1578, impelled 
 to travel, as he tells us, by " a desire to see strange countries, 
 and alsa affection to learn the languages."* He was one of 
 the messengers of Her Majesty's Chamber about 1584, and it 
 seems probable that he went with Pembroke's company on their 
 foreign tour in 1598. ^ 
 
 Amorphus says to Asotus (H. i), "You shall now as well 
 be the ocular as the ear-witness, how clearly I can refel that 
 paradox, or rather pseudodox, of those which hold the face to be 
 the index of the mind." Anthony Monday translated from the 
 French a book which he entitled TJie Defence of Contraries. 
 Paradoxes agaitist common opinion, debated i7i Forme of Declama- 
 tions in Place of public Censure : onlie to exercise young wittes 
 
 1 See above, p. 37. 
 ■■^ See above, p. 64. 
 
 * For similar facts concerning Puntarvolo, see above, p. 64. 
 
 * The English Romayne Life, by Anthony Monday (1582 and 1590, quarto), re- 
 printed in The Harleian Miscellany, VII. 129. This book gives an account of the 
 life of Englishmen at the seminary in Rome at which Monday was entertained. He 
 travelled with Thomas Nowell, and on the way from Boulogne to Amiens fell into 
 the hands of marauding soldiers. He proceeded to Paris, where the English am- 
 bassador gave him money to enable him to return to London, but instead of doing 
 so he went to Rome, stopping on his way at Lyons, Milan, Bologna, Florence, and 
 Vienna. See account of Monday by Mr. Thomas Seccombe in The Dictionary of 
 National Biography, XXXIX. 290. 
 
 S See above, p. 42, note. Cf. also the proposed travels of Puntarvolo in Every 
 Man out of his //urn our. 
 
Cynthia's revels. 93 
 
 in difficult matters} There is, perhaps, in the words of Amor- 
 phus, an allusion to this book. Amorphus is constantly referred 
 to as " the traveller," a title which Monday deserved on account 
 of his actual travels. Jonson attacks not>/)nly Monday, but 
 also his writings. Webbe, in his Discourse of English Poetrie, 
 I 586, speaks of Monday as " an earnest traveller in this art [i.e., 
 poetry]. "2 It is possible that Jonson had in mind Webbe's 
 criticism, and in calling Amorphus a "traveller," used the 
 word in a double sense. 
 
 Hedon's poem, " The Kiss," is criticised by Amorphus, who 
 thinks the "die-note" too long, and who, after a lengthy ex- 
 planation, sings some verses (IV. i) on a glove which "the 
 beauteous lady Annabel " gave him. He explains that he had 
 set the words to his " most affected instrument, the lyra." 
 After singing, he calls attention to the care that he had taken 
 in fitting words to music : — 
 
 Do you not observe how excellently the ditty is affected in every place ? 
 that I do not marry a word of short quantity to a long note? nor an ascend- 
 ing syllable to a descending tone ? Besides, upon the word " best "^ there, 
 you see how I do enter with an odd minum, and drive it through the brief ; 
 which no intelligent musician, I know, but will afifirm to be very rare, extra- 
 ordinary and pleasing. 
 
 1 The title-page (see Lowndes' Bibliographers' Manual, 1630, III.) states that the 
 book was "translated out of French by A. M., Messenger of Her Majesty's 
 Chamber." Halliwell, contrary to the evidence furnished by the title-page, attrib- 
 uted the book to Lodge. The book was published in 1 593. 
 
 '^A Discourse 0/ English Poetrie, by William Webbe, reprint by Arber, p. 35. 
 
 3 Referring to the last line of the song : — 
 
 That was thy mistress best of gloves. 
 Jonson in this song ridicules the affected language of the courtiers. The first 
 line of the poem on the glove is " Thou tuore than most sweet glove." In Every 
 Man out 0/ his Humour (V. i) Macilente tells Sogliardo, "Be sure to kiss your 
 hand often enough ; pray for her health, and tell her how more than most fair she 
 i.s." Amorphus tells Asotus (III. 3) to take his mistress by the "rosy-fingered 
 hand," and "then offering to kiss her hand, if she shall coyly recoil, and signify 
 your repulse : you are to reenforce yourself with more than most fair lady." See 
 above, p. 25, note. 
 
94 THE WAR OF THE THEATRES. 
 
 Amoiphus wrote only the words of the song. Anthony Mon- 
 day wrote a number of songs which he set to tunes by various 
 composers. In 1588 he published a book entitled A Banquet 
 of Daintic Conceits ; furnisJicd witJi verie delicate and cJioyce In- 
 ventions to delight their niindes who take Pleasure in Mnsiqnc : 
 and thereivithal to sing sweete Ditties either to the Lnte, Bandora, 
 Virginalles, or a?iic other Instrument. The hostility of Amor- 
 phus to Anaides (whom he terms [IV. i] " rude, debauched, 
 impudent, coarse, unpolished, a frapler and base") is in accord 
 with what we have learned of the relations between Monday 
 and Marston. Evidence has been adduced to prove that in 
 Histrioviastix Marston satirized Monday as Posthast.^ There 
 was evidently a quarrel between the two men, a fact which 
 Jonson did not fail to use in Cynthia s Revels as he had used it 
 in Every Man out of his Hiiviour, in which (V. 4) Puntarvolo 
 (Monday) finally sealed up Carlo's (Marston's) mouth. 
 
 There are yet other facts which tend to prove the identity of 
 Amorphus and Anthony Monday.^ In 1 598 Jonson satirized 
 Monday as Antonio Balladino, " pageant-poet to the city of 
 Milan.""* He is said to lack originality, and to be unable to 
 
 1 See above, p- 41. 
 
 ■■^ Attempts to identify Amorphus have led to some interesting conclusions. 
 A writer (qy. Simpson?) in The North British Review (1870, p. 407) says of 
 " Amorphus, the Deformed " : " There are indications that Shakespeare had been 
 already nicknamed ' Deformed ' by the purist school of critics, who, ever since 
 Nash in 1589, and Greene in 1592, had been attacking him for ignorance of art, 
 for decking himself in other men's feathers, and gleaning his wit at second hand. 
 This supposition gives a very piquant meaning to the joke in Muck Ado about 
 iVothing, about ' one Deformed,' whom Dogberry and his wise watchman had 
 known as a ' vile thief this seven year.' " Simpson, in a paper on The Political 
 me of the Stage (Tx2L.\\s2iCtio\\s of the New Shakspere Society, 1S74, Part II. p. 
 391) says: "In Cynthia's Revels, 'Amorphus, or the Deformed,' evidently repre- 
 sents the person mentioned in A/uch Ado, as ' one Deformed,' ' a vile thief this 
 seven year.' " Mr. Fleay identifies " one Deformed " in illuch Ado with Nashe. 
 but not with Amorphus. Chronicle of the English Drama, II. 144. 
 
 3 The Case is Altered, I. i. 
 
Cynthia's revels. 95 
 
 invent anything new for iiis pageants. Monday was for many 
 years pageant-poet to the city of London. ^ The second game 
 played by the gallants and their mistresses (IV. i) results in 
 ihe following statement : — 
 
 An oration was made by a traveller, with a glyster, in a pair of pained 
 slops, last progress for the delight of ladies. A few heat drops and a 
 month's mirth followed, and this silent gentleman (Asotus) would have done 
 it better. 
 
 The '< traveller" here, as elsewhere in the play, is Amorphus 
 (Monday), and the allusion is to a pageant set forth at the " last 
 progress." ^ Toward the close of the same almost interminable 
 scene (IV. i) it is announced that Cynthia intends to appear, 
 and Amorphus at once suggests presenting a masque. 
 
 Amorphus. What say you to a masque ? 
 Hedon. Nothing better, if the project were new and rare. 
 Arete. Why, Til send for Crites, and have his advice : be you ready in 
 your endeavours : he shall discharge you of the inventive part. 
 
 Amorphus resents the suggestion that Crites (Jonson) be asked 
 to assist in the preparation of the masque, and with an injured 
 and indignant air asks, " Have not I invention afore him } 
 learning to better that invention above him 1 and infanted with 
 pleasant travel } " 
 
 At the opening of the last act, Crites is told by Mercury 
 that the purpose of the night's entertainment is to rebuke the 
 courtiers for their follies. In the next scene (V. 2), Arete, 
 ignoring entirely Amorphus, who had made the suggestion, 
 tells Crites to prepare a masque. In the circumstances just 
 mentioned, Jonson reiterates the old charge, made in The Case 
 is Altered, that Monday had no powers of invention, and was 
 unfit to be pageant-poet. The only suitable person for the 
 
 1 See above, p. 38. 
 
 - The second game, " A thing done and who did it," was printed first in the 
 folio 1 61 6. As we do not know the date at which it was written we cannot tell 
 to what pageant or progress reference is here made. 
 
96 THE WAR OF THE THEATRES. 
 
 office was Crites (Jonson). We have here, probably, the reason 
 for Jonson's repeated satire of Monday. We have suggested 
 that Jonson's hostility to Daniel was for a similar reason,^ for 
 Daniel had, through court influence, obtained the position of 
 poet-laureate, a position coveted by Jonson. In the Palinode, 
 Amorphus craves pardon, among other things, for " squiring 
 to tilt-yards, play-houses, pageants, and all such public places." 
 After what has been said of the other characters, and inci- 
 dentally, of their relations to Crites, there is need to add but 
 little concerning him. Jonson draws his own picture, empha- 
 sizing his virtues and praising himself without stint. It is 
 Crites alone that Arete praises, and he alone is welcome at the 
 court of Cynthia. The most significant scene is perhaps that 
 {III. 2) in which Anaides and Hedon plot against Crites, who 
 does not deign to notice them. The chief charges brought 
 against him in the play are his wearing of shabby clothes and 
 his being a scholar (III. 2). Jonson's failure to gain money 
 by his works is represented in the unsuccessful attempt (IV. i) 
 to make Argurion bestow favor on Crites. The speeches of 
 Crites are characteristic criticism of the follies of the time. 
 It is contrary to our ideas for a man to describe himself as " a 
 creature of a most perfect and divine temper : one in whom 
 the humours and elements are peaceably met, etc.," and when 
 Jonson so described himself as Crites, it is not surprising that 
 he aroused antagonism. He denied the existence in himself 
 of those vices and follies with which he was only too ready to 
 charge other men. 
 
 Of his accusers, he says (III. 2): — 
 So they be ill men 
 If they spake worse, 'twere better. 
 
 but when I remember 
 'Tis Hedon and Anaides, -alas, then 
 I think but what they arajr^nd am not stirred. 
 
 ^ See above, p. 13. 
 
Cynthia's revels. 97 
 
 In several passages Crites describes his four foes, and after 
 one such passage (V. 2) Mercury says : " Sir, you have played 
 the painter yourself, and limned them to the life." It is this 
 passage that Marston had in mind when he introduced the 
 painter with two pictures in Antonio and Mcllida} At 
 the conclusion of the masques (V. 3), the courtiers, who had 
 gained access to Cynthia's presence by pretending to be what 
 they were not, are sentenced by Crites to sing the Palinode, 
 in which are set forth the faults and follies of courtiers 
 in general, but especially of the four men satirized in the play. 
 The Epilogue, in Jonson's most characteristic vein, ends with 
 the line so often quoted by his enemies : — 
 
 By 'tis good, and if you like't, you may. 
 
 1 This scene is discussed below. 
 
VII. 
 
 ANTONIO AND MELLIDA AND THE SPANISH 
 TRAGEDY. 
 
 The History of Antonio and Mellida and Antonio s Revenge 
 were both performed in 1600, and published, quarto, in 1602. 
 They are the last plays of Marston's from which words and 
 phrases are ridiculed in Poetastei- (1601). This ridicule con- 
 nects Antonio' s Revenge with " The War of the Theatres." 
 Anto7tio and Mellida enters into our discussion, not only because 
 Jonson ridiculed the vocabulary employed in it, but also because 
 there is undoubtedly a close connection between the scene 
 (V. i) in which a painter is asked to paint " Uh ! " and to 
 *' make a picture sing," and a scene, probably written by 
 Jonson, in TJie Spanish Tragedy (IV.), in which Hieronimo 
 requests Bazardo to paint "a doleful cry." 
 
 In Cynthia's Revels (V. 2) Mercury, replying to the descrip- 
 tion ol the characters by Crites, says : — 
 
 Sir, you have played the painter yourself, and limned them to the life. 
 
 In Antonio and Mellida (V. i) Balurdo says to the painter, who 
 states that he " did limn " the two pictures which he brought : 
 
 Limn them.'' a good word, limn them: whose picture is this? Anno 
 Domini, 1599- Believe me, Master Anno Domini was of a good settled 
 age when you limned him : 1 599 years old ! Let 's see the other. Aetatis 
 suae 24. Byrlady, he is somewhat younger. Belike Master Aetatis Suae 
 was Anno Domini's son. 
 
 Marston's ridicule of Jonson's word " limn " is plain, and the 
 two pictures are probably the two representations of Marston, 
 the first as Carlo Buffone in Every Man out of his Hiimonr 
 
ANTONIO AND MELLIDA AND THE SPANISH TRAGEDY. 99 
 
 in 1599, the second as Anaides in Cynthia s Revels in 1600. 
 Twenty-four years, the age of Aetatis Suae, was almost certainly 
 the age of Marston in 1600,^ when Jonson represented him as 
 
 Anaides. 
 
 It has been thought by some critics^ that the great similarity 
 between the painter scene (V. i) in A^itonio mid Mellida and 
 the scene in The Spanish Tragedy (IV.) is the result of an 
 attempt by Marston to parody a scene written by Jonson. 
 There is no positive proof that Jonson wrote the Painter scene 
 in The Spanish Tragedy, although it is probable that he did, 
 for we know that ini6oi and 1602 he wrote additions to a play 
 which Henslowe called Geronymo? but which was, as Collier 
 has pointed out, almost certainly The Spanish Tragedy.^ That 
 the painter scene was one of the " adicyons " mentioned by 
 
 lOn Feb 4 1591-92, "John Marston, aged 16, a gentleman's son, of co. 
 Warwick," was' matriculated at Brazennose College, Oxford. (See Dr. Grosart's 
 Introduction to Marston^s Poems, p. x, quoted by Mr. Bullen, The Works of John 
 Marston, I. xii.) That this John Marston was the poet is all but certain. His 
 age was twenty-four or twenty-five years in 1600. 
 
 2 Mr Fleay says : "Jonson, early in 1600, in Cynthia's Revels (\ . 2), 'played 
 
 the painter, and limned to the life ' Anaides, Hedon, and Amorphus He also 
 
 wrote the additional scene with the painter in it in Kyd's Spanish Tragedy, which 
 was perhaps, acted by the Chapel children 1599-1600 (see Induction to Cynthias 
 Revels), wherein Jeronymo requires ' a doleful cry ' to be painted. Marston hits 
 both these by introducing a painter who, in 1599- had 'limned ' one picture, and 
 in T 600 had represented Marston at twenty-four years old in the other. Uironide 
 of the Ensrlish Dravia, II. 75. 
 
 B.Lent unto Mr. Alleyn, the 25 of Septembr 1601, to lend unto Bengemen 
 Johnson, upon his writtinge of his adicions in Geronymo, the some of xxxxs. 
 rienslowe's Diary, ^. 20\. 
 
 " Lent unto bengemy Johnsone, at the apoyntment of E. Alleyn and Wm. Birde, 
 the 24 of June 1602, in earneste of a boocke called Richard crockbacke, and for 
 new adicyons for Jeronymo, the some of x li." Ibid., p. 223. 
 
 4 Henslowe's Diary, ed. Collier, p. 201, note 2. The Spanish Tragedyj^^ a 
 
 second part of the old ^\^y Jeronymo, to which there is no evidence that additions 
 
 were ever made. In the Induction to Cynthia\. Revels (1600) it is said, Another 
 
 swears . . . that the old Hieronimo, a.s it was first acted, was the only best 
 
 and judiciously penned play of Europe." 
 
lOO THE WAR OF THE THEATRES. 
 
 Henslowe, seems probable from the evidence furnished by the 
 title-page of the quarto published in 1602.^ The Spanish 
 Tragedie : . . . enlarged with netv additions of the Painters 
 part and others, as it hath of late been divers times acted. 
 Imprinted at London by W. IV. for T. Pavier. . . . 1602.^ 
 Since the evidence seems to show that the scene in The 
 Spanish' Tragedy was written later than the similar scene in 
 Antonio and Mellida, and since the similarity of the two scenes 
 is such as almost to exclude even the possibility of their having 
 been written independently of each other, we have left to us 
 three hypotheses on which to explain the relationship of the 
 scenes. If, as seems probable, the .scene in The Spanish 
 Tragedy was written in 1602, then Marston's scene, if a parody, 
 must have been written later than the rest of Antonio and 
 Mellida (1600), and inserted in the play when it was published 
 in 1602. This seems a possible explanation, for Marston's 
 scene is not an organic part of the play, and might have been 
 interpolated. We can find, however, no good reason for any 
 such proceeding on the part of Marston, for, at the late date at 
 which we must necessarily suppose the scene to have been 
 written, his relations with Jonson were probably more amicable 
 than they were in 1600, or at least the "War" was over. 
 Marston had, so far as we know, no reason in 1602 for alluding, 
 as he did so specifically, to Evciy Man out of his Humour 
 and Cynthia s Revels, and omitting any reference to the worst 
 and most recent caricature of all, Poetaster. A second explana- 
 tion of the similarity of the two scenes is that given by Mr. 
 Fleay,^ but, if we accept it, we must ignore the evidence offered 
 by Henslowe's entries, and by the title-page of the 1602 quarto 
 
 1 There were earlier quartos of this play in which no mention is made of the 
 painter. See Dodsley's Old Eiti^lish Plays, ed. Hazlitt, V. 2; also Halliwell's 
 Dictionary of Old Plays. 
 
 2 Title as given in Dodsley's Old English Plays, ed. Hazlitt, V. 2. 
 8 Chronicle of the English Drama, II. 75. 
 
ANTONIO AND MELLIDA AND THE SPANISH TRAGEDY. lOI 
 
 of The Spanish Tragedy, and must insist that the painter scene 
 was a part of that play as early as i 599-1600. For the latter 
 supposition there is no evidence. It seems almost certain that 
 Marston did not, in 1600, parody the scene in The Spanish 
 Tragedy. A third explanation, and one that is in accord with 
 the evidence, is that Marston's scene was suggested to him by 
 the passage in Cynthia s Revels, which had just been performed 
 for the first time, and that the scene in The Spanish Tragedy 
 was suggested to Jonson by the scene in Antonio and Mellida. 
 
 If this last explanation is correct, we find a parallel instance 
 of similarity between a passage by Marston and a passage by 
 Jonson in the speeches-of Chrisoganus and Macilente, to which 
 attention has been called. ^ 
 
 The Epilogue to Cynthia s Revels aroused opposition by its 
 arrogant declaration concerning the play — 
 
 By^ 'tis good, and if you like't you may. 
 
 It is to this that the Epilogue to Antonio and Mellida evidently 
 refers : — 
 
 I stand not as a peremptory challenger of desert, either for him that 
 composed the Comedy, or for us that acted it ; but as a most submissive 
 suppliant for both. 
 
 The Epilogue to Antonio and Mellida was armed, and Jon- 
 son's next play, Poetaster, had an armed Prologue.^ 
 
 1 See above, p. 39. 
 
 2 Jonson's armed Prologue was a reply to Marston's armed Epilogue. The 
 Prologue to Troiius and Cressida is armed, and speaks lines which may refer to 
 the Prologue to Poetaster. The Envy Prologue was an idea borrowed perhaps 
 from Mucedorus. 
 
VIII. 
 POETASTER. 
 
 Poetaster is Jonson's only openly avowed reply ^ to attacks 
 made on him by other playwrights. He told Drummond that 
 " he had many quarrells with Marston, beat him, and took his 
 pistol from him, wrote his Poetaster on him." ^ The play was 
 first peformed in 1601 by the Chapel children, and was entered 
 S. R. Dec. 21, 1601,^ and published, quarto, in 1602. The attack 
 on lawyers and soldiers caused Jonson to be brought before 
 the Lord Chief Justice, but his innocence of the charges made 
 against him was answered for by his friend Mr. Richard Mar- 
 tin, to whom he prefixed, in the folio edition * of the play (16 16), 
 an epistle referring to the incident. Appended to the play in 
 the quarto is this note : — 
 
 Here, reader, in place of the Epilogue was meant to thee an Apology 
 from the Author, with his reasons for the publishing of this book : but, since 
 he is no less restrained, than thou deprived of it by Authority, he prays 
 thee to think charitably of what thou hast read, till thou mayest hear him 
 speak what he hath written. 
 
 1 Although Jonson's earlier comedies all contained attacks on other men, yet he 
 never openly acknowledged the fact. 
 
 "^ Jonsoti's Conversations tvith Dnn?itiio)id,i). 20. 
 
 2 Poetaster was acted before Dekker's Satiromasiix, which was in preparation, 
 and which, when it was acted, contained numerous references to Poetaster. 
 
 ■* The folio (161 6) differs in some respects from the quarto (1602). In the 
 third act, the folio contains, as the concluding scene, a dialogue between Horace 
 and Trebatius (a translation of Horace, Sat. \l. i) not in the quarto. There 
 are numerous minor differences, mostly verbal, but a very important difference 
 between the two versions is the addition, in the folio, of the " Apologetical 
 Dialogue which was only once spoken upon the stage." This was evidently writ- 
 
POETASTER. IO3 
 
 Prefixed to the Apologetical Dialogue in the folio is this 
 note : — 
 
 TO THE READER. 
 
 If, by looking on what is past, thou hast deserved that name, I am will- 
 ing thou shouldst yet know more, by that which follows, an Apologetical 
 Dialogue ; which was only once spoken upon the stage, and all the answer 
 I ever gave to sundry impotent libels then cast out (and some yet remain- 
 ing) against me, and this play. Wherein I take no pleasure to revive the 
 times ; but that posterity may make a difference between their manners that 
 provoked me then, and mine that neglected them ever. For, in these strifes, 
 and on such persons, were as wretched to affect a victory, as it is unhappy 
 to be committed with them. No7i annorum canities est laudanda, sed 
 mor 71)11. 
 
 In this note, and in the Dialogue which follows, we have a 
 direct mention by Jonson of the stage war in which he had 
 been involved. Nasutus and Polyposus ^ call upon the author 
 at his lodgings to see " how he looks after these libels." ^ The 
 author defends himself, in a manner characteristic of Jonson, 
 by declaring that his play was innocent of offence, " some' salt 
 it had, but neither tooth nor gall." He denies having "taxed 
 the law and lawyers, captains and the players by their particular 
 names," and declares that while he attacked vices, he spared 
 persons. He does not know why he has been attacked, but 
 says : — 
 
 ten after the trouble with the lawyers and soldiers, and also after the acting of 
 Satiromastix. It is probable that the " Apology from the Author," from which 
 he was "restrained by authority" in 1602, was made in this "Apologetical 
 Dialogue." 
 
 1 These names are from Martial, 12, 37, and 13, 2. Mr. Fleay suggests that 
 Nasutus may " glance at Ovidius Naso, ' the well-nosed.' " Chronicle of tlie Englisli 
 Drama, I. 369. 
 
 2 " These libels " were probably the legal proceedings against Jonson, as well 
 as criticisms on his play, and possibly Dekker's reply in Satiromastix. So far as 
 we can judge, it seems that public opinion was on the side of the lawyers, 
 soldiers, and players whom Jonson had satirized. 
 
I04 THE WAR OF THE THEATRES. 
 
 sure I am, three years 
 They did provoke me with their petulant styles 
 On every stage : and I at last, unwilling, 
 But weary, I confess, of so much trouble, 
 Thought I would try if shame could win upon 'em ; 
 And therefore chose Augustus Caesar's times. 
 When wit and arts were at their height in Rome, 
 To shew that Virgil, Horace, and the rest 
 Of those great master-spirits, did not want 
 Detractors then, or practicers against them. 
 
 Jonson remarks successively on his treatment of lawyers, 
 soldiers, and players. He admits that he "brought in Ovid, 
 chid by his angry father for neglecting" the law, but denies 
 any reference to law and lawyers of his own time. " For the 
 captain " he speaks the epigram, " Unto True Soldiers," and 
 against "such as are miscalled captains," referring to Shift, 
 Tucca, and others of that type. He then replies to the charge 
 that he had attacked the players : — 
 
 Now for the players, it is true, I taxed them, 
 
 And yet but some ; and those so sparingly, 
 
 As all the rest might have sat still unquestioned. 
 
 Had they but had the wit or conscience 
 
 To think well of themselves. But, impotent, they 
 
 Thought each man's vice belonged to their whole tribe ; 
 
 And much good do't them ! What they have done 'gainst me, 
 
 I am not moved with : if it gave them meat, 
 
 Or got them clothes, 'tis well ; that was their end. 
 
 Only amongst them, I am sorry for 
 
 Some better natures,^ by the rest so drawn. 
 
 To run in that vile line. 
 
 1 Whalley remarks on the theory of some critics that Shakespeare was one of 
 these " better natures." There is no evidence whatever to substantiate such a 
 theory, but if it could be proved that Shakespeare was involved in " The War of 
 the Theatres," we might possibly find in this passage a reference to the "purge," 
 mentioned in The Return from Parnassus, as having been given by Shakespeare 
 to Ben Jonson as a reply to Poetaster. The " better natures " were actors and 
 
POETASTER. IO$ 
 
 Po/yposHs. And is this all ! 
 
 Will you not answer, then, the libels ! 
 Autli07\ No. 
 
 PolyposHs. Nor the Untrussers?^ 
 Author. Neither. 
 
 An inference drawn from the passage quoted may explain 
 the long duration of "The War of the Theatres." Jonson 
 states here and elsewhere that these satirical plays were profit- 
 able to the writers. The plays " gave them meat " and " got 
 them clothes," and this "was their end" in writing them. 
 Histrio says (III. i) that the reason for hiring Demetrius 
 (Dekker) to bring in Horace (Jonson) and his gallants in a 
 play is that " it will get us a huge deal of money . . . and we 
 have need on't." Of course any profit to be derived from 
 satirical plays could be gained by Jonson as well as by his 
 opponents. Although Jonson was several times involved in 
 legal difficulties on account of his plays,^ and although the 
 Elizabethan laws concerning libel and slander were severe, and 
 the people of the time were litigious,^ yet we have no record of 
 
 playwrights with whom Jonson had no quarrel, but who evidently sympathized 
 with Marston. The reference may be to the Chamberlain's company, by whom 
 Satironiastix was performed, or to Dekker who wrote it. 
 
 ^ A reference to Satironiastix, or, The Untrussing of the Humorous Poet. 
 
 2 Once for satirizing lawyers and soldiers in Poetaster ; again for his share in 
 Eastward Ho {written [1604] with Marston and Chapman) in which allusions to 
 the Scots proved offensive to the King and his friends. See Jonson'' s Conversa- 
 tions with Di'ummond, p. 20. 
 
 ^ For an interesting account of Elizabethan suits for libel, with special reference 
 to the trial of Nicholas Udal and others concerned in the Martin Marprelate con- 
 troversy, see Sir James Stephen's History of the Criminal Law of England, Ch. 
 XXIV. For an account of the laws of libel in Elizabeth's reign, see Kent's 
 Commentaries, II. 18. For these references the writer is indebted to William 
 Henry Loyd, Esq., of the Philadelphia bar. The Register of the Privy Council 
 contains accounts of difficulties which arose as the result of having represented on 
 the stage " the persons of some gent, of good desert and quallity that are yet alive 
 under obscure manner, but yet in such sorte as all the hearers may take notice 
 both of the matter and the persons that are meant thereby." See Early London 
 
I06 THE WAR OF THE THEATRES. 
 
 any legal action instituted by the playwrights against Jonson, 
 or by Jonson against the playwrights. There was undoubtedly 
 much bitterness of feeling on both sides, but, much as the men 
 hated each other, they sought no legal redress, for the almost 
 libellous plays were a source of profit, and legal proceedings 
 might have "killed the goose that laid the golden eggs." 
 
 The scene of Poetaster is laid in Rome, in the days of 
 Augustus, and Jonson appears as Horace. The " Poetaster," 
 at whom the satire is aimed, is Crispinus, who has associated 
 with him Demetrius, " a dresser of plays," who is "to abuse 
 Horace, and bring him in in a play" (HI. i). The great clas- 
 sical learning of Jonson is shown on every page, and his general 
 attitude in the play is that of Horace {Sat. I. lo) in which he 
 replies to the criticisms made on his works by his enemies, 
 Demetrius and Tigellius. In I. i Ovid recites a poem which 
 is a translation of Ovid, Amoi:, Lib. I., El. 15. The song 
 (II. i), "If I freely may discover," is based on Martial, I. 58. 
 In the last act is a translation of ^neid, IV. 160-188. There 
 are numerous passages in which Jonson has followed very 
 closely lines of Horace, Juvenal, and other classical writers. 
 The climax of the satire is reached in the scene (V. i) in which 
 Horace gives the emetic pill to Crispinus, who with Demetrius 
 has been condemned for attacks on Horace. This scene is an 
 adaptation of the Lexiphancs of Lucian, from whom Jonson bor- 
 rowed not only the idea, but also numerous phrases. Poetaster 
 contains so much borrowed from classical writers that it is 
 often difficult to say whether incidents related refer to the 
 men of Jonson's time, or are introduced to bring the play 
 
 Theatres, T. Fairman Ordish, p. 90 ; also Outlines of the Life of Shakespeare, 
 Halliwell-Phillipps, 6th ed., I. 342. How the people of the time regarded legal 
 actions may be seen from the following passage in The Case is Altered, V. 4: — 
 
 Fer7teze. What, are my hinds turn'd gentlemen ? 
 
 Onion. Hinds, Sir ! 'sblood an that word will bear an action, it shall cost us a 
 thousand pound apiece, lint we '11 be revenged. 
 
POETASTER. lO/ 
 
 into agreement with the facts concerning Horace and his 
 contemporaries. 
 
 Little has been added to our knowledge of the meaning of 
 Poetaster since Gifford published his notes, which, although 
 containing some mistakes, yet point out clearly the most im- 
 portant allusions and the true relationship of the chief charac- 
 ters. We are able to identify the originals of Horace (Jonson), 
 Crispinus (Marston), and Demetrius (I>g2ker), but numerous 
 less important characters remain unidentified, although in 
 several instances there are possibly hints as to the identity of 
 the men represented. In most cases the evidence is too slight 
 to be of much value. It is possible that Jonson did not intend 
 to represent his contemporaries in the characters of many of 
 the Roman poets who appear in Poetaster. Although the 
 evidence is so abundant and conclusive as to the identity of 
 Crispinus with Marston,^ yet critics, until the time of Gifford, 
 who corrected the error,^ thought it beyond question that 
 Dekker was the man represented.^ 
 
 Horace is avowedly Jonson, and Gifford has made clear 
 nearly all the allusions to him in the play, the object of which 
 was to show that what Jonson's enemies regarded to be in him 
 arrogance, conceit, bitterness, and deserved poverty, were in 
 reality proper self-esteem, righteous indignation, and neglected 
 virtue. 
 
 1 Jonson told Drummond that he wrote Poetaster on Marston {Conversations, p. 
 20), a statement that was omitted in the version of Conversations published in 
 17 1 1 in Dnimmond's works. Jonson's statement was never pubhshed until 1842, 
 and critics before that date were ignorant of it. In spite of this fact it is difficult 
 to see how they made the mistake of supposing Crispinus to be Dekker. 
 
 - See note on Poetaster, III. i, Ben Jo7tson, ed. Gifford, II. 453. 
 
 3 Jonson satirized " Dekker in his Poetaster, 1601, under the character of Cris- 
 pinus." Shakspeare and his Times, Drake, I. 487. "This play \Satironiastix'\ 
 was writ on the occasion of Ben Johnson's Poetaster, where,' under the title of 
 Crispinus, Ben lashed our author [Dekker]." An Account of the English Draina- 
 fick Poets, Langbaine (ed. 1691), p. 123. 
 
I08 THE WAR OF THE THEATRES. 
 
 The first act of Poetaster is concerned almost wholly with 
 Ovid, whose pursuit of poetry and neglect of law, in defiance 
 of his father's wishes, gave Jonson an opportunity to ridicule 
 the law and lawyers of his own time. He denied later ^ having 
 attacked individuals. It may be noted in this connection, that 
 Edward Knowell, in Every Ma7i in his Humour, neglected other 
 pursuits and gave his time to poetry, contrary to the wishes of 
 his father ; and also that Fungoso, in Every Man out of his 
 Humour, neglected his study of law. We have seen that none 
 of these characters is Marston, but it is possible that Jonson 
 may have had Marston in mind, as we know that Marston dis- 
 appointed his father's hopes in regard to becoming a lawyer.^ 
 
 We do not know who was represented as Ovid, but Mr. Fleay 
 suggests " Donne, who divided his attention between law and 
 poetry, and married Anne Moore (Julia) without her father's 
 consent."^ Dr. Cartwright insists that Ovid is Shakespeare.* 
 Tibullus and his Delia (I. i) are thought by Mr. Fleay to be 
 Daniel and Elizabeth Carey,^ but this is hardly possible, since 
 Tibullus is one of the "gallants " of Horace (HI. i), and is his 
 friend (V. i). Daniel, as we know, was a man against whom 
 Jonson was bitterly hostile. The allusion to Delia is a genuine 
 classical allusion, as the works of Tibullus are full of lines 
 addressed to " Delia," a name given to Plautia. Mr. Fleay 
 has expressed his opinion that Hermogenes Tigellius, " the 
 
 1 In the Apologetical Dialogue, first published in 1616, but doubtless written 
 soon after the performance of the play in 1601. 
 
 ■^ In the will of Marston's father, printed by Dr. Grosart (Introduction to Mars- 
 tori's Poems'), is the follow'ing passage : " to sd. son John my furniture &c. in my 
 chambers in the Middle Temple my law books &c. to my sd. son whom I hoped 
 would have profited by them in the study of the law but man proposeth and God 
 disposeth, &c." This will was proved Nov. 29, i 599. 
 
 3 Chronicle of the English Drama, I. 367. 
 
 * Shakespeare and Jonson, Dramatic versus Wit Combats, p. 6 ; see also The 
 North British Review, July, 1870, p. 410, "That Shakespeare was meant by Ovid 
 there can be little doubt." * Chronicle of the English Drama, I. 367. 
 
POETASTER. 
 
 109 
 
 excellent musician " (II. i) and an enemy of Horace, is probably 
 Daniel, and for this there is some evidence.^ 
 
 Virgil, to whom is assigned a noble character, has been 
 thought to be either Shakespeare ^ or Chapman.^ The evidence 
 seems to favor the latter identification, although we cannot be 
 sure that it is correct. Gallus, a friend of Horace (III. i), is 
 a warrior and also a poet (V. i). He may be the Gallus upon 
 whom Davies wrote his Epigram.* 
 
 1 After proving that Hedon is Daniel, Mr. Fleay says : " It seems probable . . . 
 that Hedon and Anaides . . . are the same personages ... as Hermogenes 
 Tigellius and Crispinus in The Poetaster'^ Chronicle of the English Drama, I. 97 ; 
 but on p. 368, " Hermogenes is a musician, but not a poet (is he meant for John 
 Daniel .')." There was a John Daniel, music-master, but whether this was the 
 fatheror the brother of Samuel Daniel is an undecided question. (See Daniel, 
 ed. Grosart, Memorial Introduction, I. xii.) Horace aimed Sat. I. 10 at Demetrius 
 and Hermogenes Tigellius, and if Jonson gave the latter name to his enemy, 
 Daniel, he was following his classical model. 
 
 ^ Gifford inclined to the opinion that Virgil was meant for Shakespeare. Ben 
 Jonson, ed. Gifford, 11. 502. 
 
 3 Dr. Cartwright identified Virgil with Chapman (Shakespeare and Jonson, 
 Dramatic versus Wit Combats, p. 6), a view shared by Professor Ward ( A His- 
 tory of English Dramatic Literature, I. 565), by Mr. Fleay {Chronicle of the English 
 Drama, I. 367), and by Professor Herford {Ben Jonson, Mermaid edition, Intro- 
 duction, I. xxxiii). 
 
 XX I \'. In Galium. 
 Gallas hath beene this summer-time in Friesland 
 And now return'd he speaks such warUke words, 
 As, if I could their English understand, 
 I feare me they would cut my throat like swords : 
 He talkes of counter-scarfes and casomates, 
 Of parapets, of curteneys. and palizadoes ; 
 Of flankers, ravelings, gabions he prates. 
 And of false-brayes, and sallies and scaladoes. 
 But, to requite such gulling tearmes as these, 
 With words of my profession I reply ; 
 I tell of fourching, vouchers, and counterpleas, 
 Of withermans essoynes, and champarty. 
 
 So neither of us understanding one another, 
 We part as wise as when we came together. 
 
 Sir John Davies, ed. Grosart, II. 23. 
 
 Mr. Fleay suggests to the writer that perhaps this epigram referred to Ben Jon- 
 son, who, in Poetaster, shifted the appjication to some one else. 
 
IIO THE WAR OF THE THEATRES. 
 
 Tucca is another version of Bobadil and Shift. Albius and 
 Chloe are friends of Crispinus, who, at their house, sings his 
 song (II. I) as does also Hermogenes. Crispinus sings another 
 song (IV. i) and Albius sings (IV. 3) with Hermogenes and 
 Crispinus. Albius and Chloe, as has been remarked,^ are prob- 
 ably the same persons as Deliro and Fallace {Every Man out of 
 his Humour), and the citizen and his wife {Cynthia s Revels). 
 Mr. Fleay thinks, "Deliro possibly Monday."^ If this were 
 true, then Albius also would be Monday, but we have seen that 
 Deliro is not Monday, who appears in Every Man out of his 
 Humour as Puntarvolo. 
 
 The first half of Act III. consists of a dramatization of 
 Horace {Sat. I. 9), and it is here that Horace first appears in 
 the play. He is bored by the persistent attentions of Cris- 
 pinus, from whom even the meeting with Fuscus Aristius^ 
 fails to bring relief. When Crispinus is arrested by the lictors 
 at the instigation of Minos, Horace is enabled to escape from 
 his tormentor, and the remainder of the act is concerned with 
 Crispinus, Tucca, the Pyrgi, and Histrio ; at the close of the 
 act Demetrius appears. Crispinus was identified for the lic- 
 tors by his "ash-coloured feather." Rufus Laberius Crispinus* 
 
 1 Above, p. 65. 
 
 - Chronicle of the English Drama, I. 360. 
 
 3 Fuscus (swarthy) Aristius is mentioned as a dear friend by Horace in his 
 Satire, so there is probably no allusion in this character to any contemporary of 
 Jonson's. It may be worth mentioning, however, that Drayton, a friend of Jon- 
 son's, speaks of himself, in his Legend of Robert, Duke of Normandy, as having 
 a " swart and melancholy face." 
 
 * Laberius Decimus, a writer of mimes, mentioned by Horace {Sat. I. 10, 6), 
 is criticised by Aulus Gellius (XVI. cap. 7), the subject of the chapter being 
 Quod Laberius verba pleraque licentius petulantiusque finxit : quod mtdtis item ver- 
 bis tititur, de qnibus an sit Latina quaeri solet. Gellitis, Delph. ct Var., II. 892. 
 The name Laberius was peculiarly appropriate to Marston. Crispinus was ridi- 
 culed by Horace (Servi. I. i. 120) : N'e me Crispini scrinia lippi compilasse piUes, 
 verlmm non amplitts addam. To these two names, in themselves sufficiently con- 
 temptuous, Jonson added Rufus. 
 
POETASTER. Ill 
 
 seems to be a name invented by Jonson to show his contempt 
 for Marston. The hair of Crispinus is ridiculed several times 
 in the play, as, for example (II. i), when Crispinus expresses 
 a desire to be a poet: — 
 
 Chloe. And shall your looks change, and your hair change, and all, like 
 these ? 
 
 Crispinus. Why, a man may be a poet, and yet not change his hair, lady. 
 
 Chloe. Well, we shall see your cunning : yet, if you can change your 
 hair, I pray do. 
 
 Another personal allusion to Marston is the constant ridicule 
 of the fact that he was of gentle birth. 
 
 Chloe. Are you a gentleman born .'' 
 
 Crispinus. That I am, lady ; you shall see mine arms if it please you. 
 Chloe. No, your legs do sufficiently shew you are a gentleman born, sir ; 
 for a man borne upon little legs is always a gentleman born.i 
 
 In the following passages also Crispinus boasts of his gentility. 
 
 Crispinus. Gramercy, good Horace. Nay, we are new turned poet, too, 
 which is more ; and a satirist, too, which is more than that : I write just in 
 thy vein, I. I am for your odes, or your sermons, or anything indeed ; we 
 are a gentleman besides ; our name is Rufus Laberius Crispinus ; we are a 
 pretty Stoic, too. 
 
 Horace. To the proportion of your beard, 1 think it, sir.'^ 
 
 Tucca {to Histrio). Go, and be acquainted with him [Crispinus] then ; 
 he is a gentleman parcel-poet, you slave ; his father was a man of worship, 
 I tell thee.3 
 
 Gifford has observed that Dekker, in TJie Guls Horne-Bookc, 
 probably refers, in the following passage, to these various per- 
 sonal allusions to Marston : — 
 
 Now Sir, if the writer be a fellow that hath either epigrammd you,* or 
 hath had a flirt at your mistris,^ or hath brought either your feather, or 
 
 1 IT. I. Little legs were a sign of gentle birth; see above, p. 72. 
 
 ■^ III. I. 3 in. I. 
 
 ■* Jonson's Epigi^ams 49, 68, and 100, all on Playwright, probably refer to Marston. 
 s The mistress of Anaides {Cynfhia's Revels) is Moria (folly). 
 
112 THE WAR OF THE THEATRES. 
 
 your red-beard, or your little legs, &c., on the stage, you shall disgrace him 
 worse than by tossing him in a blancket,^ or giving him the bastinado in a 
 Taverne, if, in the middle of his play (bee it Pastoral or Comedy, Morall or 
 Tragedie) you rise with a screwd and discontented face from your stool to 
 be gone.^ 
 
 Marston's gentility is an object of ridicule in the passage 
 (II. i) in which Crispinus describes his coat of arms.^ 
 
 My name is Crispinus or Cri-spinas'' indeed ; which is well expressed in 
 my arms ; a face crying in chief ; and beneath it a bloody toe between three 
 thorns pungent. 
 
 Mr. Fleay says of this : "Marston, as well as Crispinus, is 
 here indicated. Mius is red, or bloody (compare Mars ochre), 
 and toen is toes : together forming Marston. Both puns are 
 equally bad."^ Dr. Brinsley Nicholson thought this "a gro- 
 tesque description of the true arms of Marston — ■ a fesse ermine 
 between three fleurs de lis argent. As, however, it would have 
 been too perilous in those days of old gentility to ridicule too 
 closely or markedly an honored heraldic device, Jonson, with 
 viciously spiteful malice, added in chief 'a face crying,' and in 
 so doing managed to mark out his opponent more distinctively. 
 It may have been suggested to him by the long melancholy 
 face of the greyhound, which is, I believe, the Marston crest ; 
 but it was an addition which became, as it were, a new and per- 
 sonal grant to the holder in recognition of his glorious achieve- 
 ment, in that he, the upholder of the honor of an old coat, had 
 
 ^ Horace (Jon.son) is in Satiromastix to.ssed in a blanket, as a punishment for 
 his attacks on Crispinus and others. 
 
 ^ Dekker, ed. Grosart, II. 253. 
 
 ^ Compare the description of Sogliardo's arms, Every Man out of /lis Humour, 
 III. I. See above, p. 61. 
 
 * Dekker parodies this in Satirormxstix with Crispin-asse. Dekker, reprint Pear- 
 son, I. 212. 
 
 '' Shakespeare Manual, p. 312. 
 
POETASTER. I I 3 
 
 taken, like Dekker, a public beating." ^ Dr. Grosart expresses 
 a divergent opinion and says : " The 'arms ' assigned to Cris- 
 pinus is a mere ' canting coat,' and not very creditable fooling, 
 with reference to the farcical name, and not corresponding 
 with Marston's arms. These are properly blazoned thus : 
 Sable, a fesse dancettee ermine between three fleurs de lis 
 argent. Crest, a demi greyhound sable gorged, with a collar 
 dancettee ermine.'"'^ Dr. Grosart doubts Dr. Nicholson's 
 explanation, " that the fesse dancettee and three fleurs de lis 
 in Marston's arms gave rise to Jonson's conceit and parody, 
 'a bloody toe between three thorns.' " ^ 
 
 Attention has been called several times * to common mis- 
 takes concerning Dekker's connection with the quarrel of 
 Jonson and Marston. The only representation of Dekker in 
 Jonson's plays is the character Demetrius in Poetaster. He 
 appears for the first time at the close of Act III., and when he 
 enters is unknown to all but Histrio, who informs Tucca that 
 the stranger is " one Demetrius, a dresser of plays about the 
 town here ; we have hired him to abuse Horace, and bring 
 him in in a play." Tucca had only a short time before made 
 the acquaintance of Histrio, who was hailed as he was passing. 
 Histrio belongs to some company for which Demetrius was to 
 write a play. Crispinus is recommended to Histrio's company 
 by Tucca. Histrio gives as a reason for attacking Horace, 
 "It will get us a huge deal of money." An examination of 
 Poetaster shows that it is not at all impossible that Jonson did 
 not originally intend to mention Dekker, with whom he had no 
 quarrel, but that after Poetaster was well advanced in prepara- 
 
 1 Notes and Queries, Series 4, VII. 469. The public beating is referred to by 
 Jonson, who told Dnimmond that "he beat Marston." Jonson's Conversations 
 with Dnimmond, pp. 11, 20. 
 
 2 Marston's Poems, ed. Grosart, Introduction. 
 ^ ibid. 
 
 * Above, pp. 46, 51. 
 
114 THE WAR OF THE THEATRES. 
 
 tion, although it was written in fifteen weeks, Jonson learned 
 of the plan to " untruss " him, and in order to forestall the 
 attack added the lines of Demetrius. The omission of a few 
 lines (III. i), and the alteration of a few others (V. i) would 
 eliminate Demetrius from the play without in any way affecting 
 the play as an arraignment of Marston, the "poetaster," against 
 whom Jonson had been bitterly hostile for three years. Tucca 
 suggests to Histrio (III. i) that Crispinus shall help Demetrius 
 in the preparation of his play attacking Horace, but Histrio 
 replies that Demetrius can do it " impudently enough." . . . 
 " He has one of the most overflowing rank wits in Rome." 
 Crispinus declares (IV. 4), "I'll write nothing in it but inno- 
 cence, because I may swear I am innocent." Jonson thus 
 exonerates Marston from any share in the actual writing of 
 Satiromastix . Dekker was the "journeyman" (IV. 4) "hired 
 to abuse Horace" (III. i), but Crispinus, Tucca, and other 
 enemies of Jonson were responsible for the plan. Dekker 
 was a rapid writer,^ well known as a " dresser of plays," ^ 
 and this was probably the reason he was selected to write a 
 reply to Poetaster. 
 
 The fact that the company to which Histrio belonged had 
 hired Demetrius to abuse Horace in a play, naturally connects 
 itself with the fact that Dekker's Satiroviastix was performed 
 by the Chamberlain's company at the Globe Theatre.^ Tucca's 
 remarks to Histrio (HI. i) are significant : — 
 
 1 The Seven Deadly Sins of London, 1606, 4to, has on the title-page Dekker's 
 boast, Opus septein Dieriim. 
 
 '^ Dekker's name appears frequently in //etis/otve's Dia>y in connection with 
 the remodelling of old plays. 
 
 3 The title-page of the quarto (1602) states that S<ttiromastix was "presented 
 publikely, by the Right HonoraWe, the Lord Chamberlaine his Servants ; and 
 privately, by the Children of Paules." The latter company produced Marston's 
 plays, yczf,^ Drum, Antonio and Mellida, and Antonio^s /Revenge. Histrio was not 
 one of the " Children of Paules," for, if he had been, Tucca would not have needed 
 to introduce Crispinus, or offer his services. 
 
POETASTER. I I 5 
 
 I hear you'll bring me o' the stage there : you'll play me, they say ; I 
 shall be presented by a sort of copper-laced scoundrels of you ; life of Pluto! 
 an you stage me, stinkard, your mansions shall sweat for't, your tabernacles, 
 varlets, your Globes, and your Triumphs. 
 
 Tucca was brought on the stage at the Globe in Satiromastix. 
 When Tucca told Histrio (III. i) : " they say you have nothing 
 but Humours, Revels, and Satires," referring to Jonson's plays, 
 Histrio replied : " No, I assure you, captain, not v^e. They 
 are on the other side of Tyber." Although Jonson's Every 
 Man in his Humour and Every Man out of his Humour were 
 produced by the Chamberlain's company, the former at the 
 Curtain, the latter at the Globe, yet Jonson's next play, 
 Cynthia s Revels, was produced at Blackfriars, his connection 
 with the Chamberlain's company having ceased. Histrio, if a 
 member of the Chamberlain's company, was correct in saying 
 that the " Humours, Revels, and Satires " were now " on the 
 other side of Tyber." Tucca and the two Pyrgi belonged to 
 another company for which Crispinus was a writer. This com- 
 pany may have been the Children of Paul's, for whom Marston 
 had been writing. Histrio and ^sop (who is punished V. i) 
 belong to some company hostile to Horace. That this was 
 probably the same company as Sir Oliver Owlet's men in His- 
 triomastix^ is indicated by Jonson's applying to Histrio's com- 
 pany the lines sung by the players in Histriomastix : — 
 
 Besides we that travel, with pumps full of gravel, 
 Made all of such running leather, 
 That once in a week, new masters we seeke. 
 And never can hold together.^ 
 
 Tucca says to Histrio (HI. i) : — 
 
 If he [Crispinus] pen for thee once, thou shalt not need to travel with 
 thy pumps full of gravel any more, after a blind jade and a hamper, and 
 stalk upon boards and barrel heads to an old cracked trumpet. 
 
 ^ See above, pp. 34, 42. - Histriomastix, II. 11. 251-254. 
 
Il6 THE WAR OF THE THEATRES. 
 
 Histrio's company "have Fortune and the good year" on their 
 side, a remark applicable to the connection between the Ad- 
 miral's company and the Fortune Theatre, but Tucca mentions 
 the Globe, at which he was actually "presented." Critics are 
 divided in their opinions as to the identity of Histrio's com- 
 pany, and the same two views are held as in the case of Sir 
 Oliver Owlet's men. Mr. Fleay maintains ^ that Histrio was a 
 member of Pembroke's company, while Professor Wood,^ adopt- 
 ing the view of Simpson,^ argues to prove that Histrio belonged 
 to the Chamberlain's men. 
 
 The story of Ovid and Julia is made prominent in Act IV., 
 and the balcony scene between Ovid and Julia reminds the 
 reader of the similar scene in Romeo and Jiiliet!^ 
 
 The last act of Poetaster contains Jonson's final attack on 
 Marston. Crispinus, the "brisk Poetaster," and Demetrius, 
 " his poor journeyman," are arraigned before Caesar for their 
 attacks on Horace. The indictment is read and the accused 
 plead " not guilty." Papers are produced which Crispinus and 
 Demetrius acknowledge having written. The lines which Cris- 
 pinus admits are his, are taken from Antonio and Mellida, Anto- 
 nio' s Revenge, Satires, The Scourge of Villa}iie,^x\dJackDrii7n.^ 
 Demetrius admits having written some lines which are, as 
 Gifford remarks, "assuredly meant to ridicule the loose and 
 
 ^ Clironicle of the Eiiglixh Drama, I. 368 ; see also ihid., II. 70, 71, and History 
 of the Stage, Fleay, pp. 137, 138, 158. 
 
 2 See above, p. 34, note 3. 
 
 3 See The School of Shakspere, II. 11, 89. 
 
 * It is difficult to \indeistand the reasoning by which Dr. Cartvvright reached 
 the following conclusion : " That there may be no mistake, that Ovid is and shall 
 be Shakespeare, the whole of the last scene in the fourth act is a parody on the 
 third and fifth scenes in the third act of Romeo and /itliet." Shakespeare and Jon- 
 son, Dramatic versus Wit Combats, p. 6. 
 
 ^ Gifford identified the passages from Marston's works, except those from Jack 
 Drutn, which are given by Simpson. School of Shakspere, II. 128. Gifford has 
 noted also the ridicule of Marston's style in the lines spoken by the two Pyrgi in 
 Act III. (See Ben Jonson, ed. Gifford, II. 457, 517-530.) 
 
I 
 
 POETASTER. II 7 
 
 desultory style of Dekker ; though here, too, something of Mar- 
 ston is suffered to appear." Satiroinastix, or the Untrussing of 
 the Himioroiis Poet is referred to in the lines of Demetrius : — 
 
 Our Muse is in mind for th' untrussing a poet, 
 I slip by his name for most men do know it : 
 A critic that all the world bescunibers 
 With Satirical humours and lyrical numbers. 
 And for the most part himself doth advance 
 With much self-love, and more arrogance. 
 And, but that I would not be thought a prater, 
 I could tell you he were a translator. 
 I know the autliors from whence he has stole, 
 And could trace him too i but that I understand 
 
 them not full and whole. 
 The best note I can give you to know him by. 
 Is, that he keeps gallants' company : 
 Whom I could wish, in time should him fear. 
 Lest after they buy repentance too dear. 
 
 In this passage Jonson anticipates the charges made against 
 
 him in Satiroinastix. Crispinus and Demetrius are found guilty 
 
 of having slandered Horace. Before sentence is pronounced, 
 
 ♦ Horace is permitted by Caesar to give to Crispinus an emetic pill. 
 
 Marston's vocabulary had been an object of ridicule to Jonson 
 ever since Marston's attack on the "new-minted epithets,"^ but 
 no former ridicule was so severe as that contained in the scene 
 in which the emetic pill produces the desired effect on Cris- 
 pinus, who, like Lexiphanes, disgorges the words that character- 
 ized his literary style. Many of the words here ridiculed by 
 Jonson have been identified in Marston's works. ^ 
 
 1 See above, p. 79. This is the same charge that was made by Anaides in 
 Cynthia's Revels, III. 2. '^ See above, p. 4. 
 
 3 Crispinus disgorged in all thirty words, some of which were used in phrases. 
 Twenty of the words are to be found in The Scourge of Villa nie, Jack Drum, An- 
 tonio and Mellida, and Anto7iio's Revenge. For a list of passages in which these 
 words are used, see Chronicle 0/ the English Drama, Fleay, II. 73- The following 
 words have not been found in Marston's works : retrograde, spurious, inflate, tur- 
 gidous, ventosity, oblatrant, furibund, fatuate, prorumped, obstupefact. " Retro- 
 
Il8 THE WAR OF THE THEATRES. 
 
 Sentence is pronounced on Crispinus and Demetrius, but for 
 the latter Horace has asked mercy. " The oath for good be- 
 haviour " is administered to both, and they are made to swear 
 that they will never again "malign, traduce, or detract the 
 person or writings of Quintus Horatius Flaccus, or any other 
 eminent man." They are forbidden ambitiously to affect "the 
 title of the Untrussers or Whippers of the Age." The men 
 put under oath not to attack Horace are the two men, Marston 
 and Dekker, who attacked Jonson in plays. 
 
 Poetaster is Jonson's acknowledged reply to the numerous 
 attacks that had been made upon him during a period of three 
 years. ^ In this play Jonson anticipated and replied to the 
 charges brought against him in Dekker's Satiromastix, a play 
 at that time not yet acted. So far as Jonson was concerned 
 "The War of the Theatres" was ended, although peace was 
 not declared. Satiromastix was a direct reply to all of Jonson's 
 early satirical comedies, while in Marston's WJiat You Will, we 
 can still hear, as it were, the rumbling of the storm which had 
 just passed over. Marston and Jonson both contributed to 
 Chester's Love's Martyr, 1601. In 1604 Jonson and Marston 
 collaborated with Chapman in the writing of Eastivard Ho, a 
 play for which they all went to jail,^ and in the same year we 
 find Marston dedicating his Malcontent, " Benjamino Jonsonio, 
 poetae elegantissimo, gravissimo, amico suo, candido et cordato." 
 
 grade " is ridiculed several times by Jonson. It is one of the words of Amorphiis, 
 who says to Morphides, " You must be retrograde." Cynthia's Revels, V. 2. 
 Drayton, in his Elegy Of his Lady's not coming to London, says, "or you delight 
 else to be retrograde." The word was evidently in not uncommon use, for we find 
 A Booke of the Seven Planets, or seven wandring motives of William Alablaster''s 
 Wit Retrogi-aded or removed by John Racster ijg8. " Reciprocal," a word ridi- 
 culed by Jonson in Every Man out of his Humotcr, IV. 4, and Cynthia's Revels, I. 
 I, and IV. I, is used by Marston in The Malcontent {1604), II. 2. " Ventosity " is 
 one of Clove's "fustian" expressions in Every Man out of his Humour, III. i. 
 See above, p. 51. 
 
 ^ See Apologetical Dialogue. ^ ggg above. p. 105, note 2. 
 
IX. 
 
 SATIROMASTIX. 
 
 Sat/romastix, written by Dekker at the instigation of 
 Marston and others, who had been satirized by Jonson, was a 
 reply to Poetaster} It seems probable that Dekker was at 
 work on a play dealing with the story of Sir Walter Terill, 
 when Marston suggested the immediate reply to Jonson's 
 play. Horace, Crispinus, Demetrius, Tucca, and Asinius ^ 
 are borrowed from Poetaster, and are quite out of place in 
 Dekker's play, the scene of which is at the court of 
 William Rufus. It is perfectly evident that the " Untrussing 
 of the Humorous Poet " was no part of Dekker's original 
 design. 
 
 When Jonson referred to Dekker as a "play-dresser" and 
 "journeyman"-'^ poet, he used terms which were particularly 
 applicable to the author of Satiromastix. Attempts to iden- 
 tify William Rufus,* Sir Rees ap Vaughan, and other characters 
 
 1 The Chamberlain's company, which produced 6V?//;w«rtJ//x in r6oi, after 
 Poetaster, had presented Every Man out of his Htiniour, the first play of Jonson's 
 in which Marston was attacked. Jonson's next two plays were produced by the 
 Chapel children at Blackfriars. 
 
 •^ Asinius Bubo in Satiroinastix is not the same character as Asinius lAipus 
 in Poetaster. The name, however, was borrowed by Dekker. 
 
 3 Poetaster, V. i ; IV. 4. 
 
 1 Reference has been made several times to absurd identifications of characters 
 in the various plays discussed. Shakespeare has been identified by critics in at 
 least one character in almost every play. The writer in The North British Review 
 (July, 1870, p. 416) thinks Shakespeare is represented as William Rufus in Satiro- 
 
X 
 
 I20 THE WAR OF THE THEATRES. 
 
 than those borrowed from Poetaster, leave out of consideration 
 the fact that there is no real connection between the two sets 
 of characters. In the present discussion we are concerned 
 only with those portions of the play in which Jonson is ridi- 
 culed as Horace. Attention has been called to the mistakes 
 concerning Dekker's connection with " The War of the The- 
 atres." ^ It is noticeable that Demetrius (Dekker) takes no 
 part in the abuse of Horace, a task left almost wholly to Tucca. 
 Many of the lines of Demetrius express admiration for the 
 really good qualities of Horace — an admiration which was 
 probably genuine on the part of Dekker. The three comedies 
 in which Jonson attacked Marston are each referred to several 
 times. 
 
 Jonson's Epigrams are mentioned frequently,'-^ and his 
 Epithalamiums, of which we have three examples, are also 
 spoken of in several passages.^ 
 
 Jonson's experience as a bricklayer was not forgotten by his 
 enemies, and in Satiromastix he is twitted with it : — 
 
 mastix. Dr. Cartwright says : " William Rufus, ' learning's true Maecenas, poesy's 
 king,' it may be presumed, was the ignorant William Shakespeare. . . . The wits 
 of Elizabeth were not asleep. In this comedy Shakespeare is King William and 
 Lyly is Sir Vaughan ap Rees : the remark of Tucca, ' be not so tart my precious 
 Metheglin,' identifies Lyly with Amorphus, reminding us of the Metheglin and 
 ' Pythagoricall breeches ' in Cytithia's Revels." Shakespeare and Jonson, Dramatic 
 versus Wit Combats, p. 52. In Mamtinghavi's Diary, p. 39, Camden Society 
 publications, is an anecdote showing that William the Conqueror was, on at 
 least one occasion, a nickname of Shakespeare. 
 
 1 See above, pp. 46, 51, 67, 68, 70, 107, 113. 
 
 '^Dekker, I.; Satiromastix, pp. 195, 212,221, 241. (All references to Satiro- 
 mastix are to the pages in the edition published by Pearson in 1873. The play 
 is not divided into acts and scenes.) Cf. Jonson's Epigrams on Play^vright 
 (Marston), 49, 68, 100; True Soldiers, 108 (also in Apologetical Dialogue 
 appended to Poetaster); Shift, 12; Poet- Ape, 56. 
 
 '^Satiromastix, pp. 190, 192, 215, 241. The three Epithalamiums of Jon- 
 son's that we have are Underwoods gj Epithalarnium, celebrating the nuptials 
 of Mr. Hierome Weston and Lady Frances Stewart, and the two contained in The 
 Masque of Hymen and The Hue and Cry after Cupid. 
 
SATIROMASTIX. 121 
 
 Asinius (to Horace). Nay, I ha more news, ther's Crispinus and his 
 Jorneyman Poet Demetrius Fannius^ too, they sweare they'll bring your 
 life and death upon'th stage like a Bricklayer in a play.'^ 
 
 Tucca calls Horace a "poor lyme and hayre rascall," ^ and 
 a " foule-fisted Morter-treader." "* 
 
 Sir Vauglian (to Horace). Two urds Horace about your eares : how 
 chance it passes, that you bid God boygh to an honest trade of building 
 Symneys, and laying downe Brickes, for a worse handicraftnes, to make 
 nothing but railes;^ 
 
 When it is suggested that Horace be tossed in a blanket, 
 Tucca asks him : — 
 
 . . . -dost stampe mad Tamberlaine, dost stampe ? thou thinkst th'ast 
 Morter under thy feete, dost?® 
 
 A pun is intended in the following : — 
 
 Sir Vaiighan. Horace and Bubo, pray send an answere into his Majes- 
 ties eares why you go thus in Ovid's Morter-Morphesis and strange fashions 
 of apparell.'' 
 
 The fact that Jonson was saved from hanging by being able 
 to "con his neck-verse," after he had been sentenced for kill- 
 ing in a duel Gabriel Spencer, a player,^ is thus alluded to by 
 Dekker : — 
 
 1 Dekker refers several times to titles given by Jonson to Crispinus and Deme- 
 trius. Horace says: "As for Crispinus, that Crispin-asse, and Fannius, his play- 
 dresser" (Satiromastix, p. 212). Jonson interpreted Crispinus as " Cri-spinas " 
 (see above, p. 112), and this is Dekker's retort. Demetrius (Dekker) is called 
 " a dresser of plays " {^Poetaster, HI. i) and " play-dresser " {Poetaster, V. i). 
 
 ^ Satironiastixi p. 195. For the allusion to bringing Jonson on the stage, see 
 Poetaster, HI. i, and IV. 4. 
 
 3 ibid., p. 199. Emulo, in Patient Grissil, II. i, is asked : " Where's the lime 
 and hair .' " See above, p. 68. '' ibid. 
 
 * ibid., p. 234. "^ ibid., p. 258. 
 
 ^ ibid., p. 243. ^ .See above, p. 7. 
 
122 THE WAR OF THE THEATRES. 
 
 Asinius (to Horace). Answere, as God judge me Ningle, for thy wit 
 thou mayst answer any Justice of peace in England I warrant ; thou 
 writ'st in a most goodly big hand too, I like that, I readst as leageably 
 as some that have bin sav'd by their neck-verse.^ 
 
 Titcca. The best verse that ever I knew him hacke out, was his white 
 neck-verse.'^ 
 
 Tiicca (to Horace). Holde, holde up thy hand, I ha seene the day thou 
 didst not scorue to hold up thy goUes.^ 
 
 This is evidently a reference to Jonson's trial for murder. 
 When the indictment was read the accused had to hold up 
 his hands. We have here also a reply to the treatment of 
 Crispinus and Demetrius in Poetaster (V. i), where they are 
 made to " hold up their spread golls." Horace is made to do 
 what he had made others do. 
 
 Tiicca (to Horace). Art not famous enough yet, my mad Horastratus, 
 for killing a Player, but thou must eate men alive ? * 
 
 Tucca (to Horace). Thou art the true arraign'd Poet, and shouldst have 
 been hang'd, but for one of these part-takers, these charitable Copper-lac'd 
 Christians that fetcht thee out of Purgatory (Players I meane) Theate- 
 rians pouch-mouth, Stage-walkers;^ 
 
 Sir Vaughan (to Horace). Inprimis, you shall sweare by Phoebus and 
 the halfe a score Muses lacking one : not to sweare to hang your selfe, if 
 you thought any Man, Ooman or Silde, could write Playes and Rimes, as 
 well-favour'd ones as your selfe. 
 
 Tucca. Well sayd, hast brought him toth gallowes already.^ 
 
 Crispinus (to Horace). . . . were thy warpt soule, put in a new molde 
 Ide weare thee as a Jewell set in golde. 
 
 Sir Vaughan. And Jewels, Master Horace, must be hang'd you know.'' 
 
 1 Satiromastix^ p. 194. ^ ibid.., p. 203. 
 
 2 ibid., p. 241. * ibid., p. 234. 
 
 ^ ibid., p. 244. It is thought by some that the allusion is to Jonson's difificul- 
 ties in consequence of his duel, and that it was through the intervention of Shake-, 
 speare that he was released. See Collier's Memoirs of Actors, p. xx, Shakespeare 
 Society publications; also Early London Theatres, T. Fairman Ordish, pp. 190-3. 
 There is no proof that Shakespeare was the man, although he may have been. 
 
 ^ Satiromastix, p. 261. " ibid., p. 245. 
 
SATIROMASTIX. 123 
 
 Jonson served in the Low Countries, and this is referred to 
 by Sir Ouintilian, who asks, concerning Horace : — 
 
 What Gentleman is this in the Mandilian, a soldyer? 
 
 To this question Sir Vaughan replies : — 
 
 No, tho he has a very bad face for a souldier, yet he has as desperate a 
 wit as ever any Scholler went to cuffes for ; ^ 
 
 The "bad face" was Jonson's " rocky -face," as he called it in 
 the lines on My Picture Left in Scotland} 
 
 Another reference to Jonson's having been a soldier, and 
 also to his having killed his adversary in a duel, is the warning 
 of Horace to Tucca, " Holde Capten, tis knowne that Horace 
 is valliant and a man of the sword." ^ This is a quotation 
 from Poetaster (IV. 4) where Pyrgus tells Tucca, '* Horace is 
 a man of the sword," and Crispinus adds, "They say he's 
 valiant." Jonson's career as an actor is referred to by Tucca 
 on two occasions. 
 
 Horace. No Captaine, He weare anything. 
 
 Tucca. I know thou wilt, I know th' art an honest low minded Pigmey, 
 for I ha seene thy shoulders lapt in a Plaiers old cast Cloake, like a Slie 
 knave as thou art : and when thou ranst mad for the death of Horatio : * 
 thou borrowedst a gowne of Roscius the Stager (that honest Nicodemus) 
 and sentest it home lowsie, didst not.'*^ 
 
 1 Satiromastix, p. 215. 
 
 2 Underwoods, VII. Jonson's face is a subject of jest elsewhere. Dicace says: 
 " That same Horace me thinkes has the most ungodly face, by my Fan ; it lookes 
 for all the world, like a rotten russet Apple, when tis bruiz'd." Miniver declares, 
 " Its cake and pudding to me to see his face make faces, when bee reades his 
 Songs and Sonnets." Satiromastix, p. 241. " Horace \i.e., Roman Horace] had 
 not his face puncht full of Oylet-holes, like the cover of a warming-pan." 
 Ibid., p. 260. 
 
 ^ Satiromastix, p. 234. Jonson killed "ane enemie " in the Low Countries, an 
 incident which is included in the reference here. Jonson^s Conversations with 
 Drummond, p. 18. See above, p. 7. 
 
 * Hieronimo becomes mad after the death of Horatio in The Spanish Tragedy 
 II. Jonson acted the part of Hieronimo. ^ Satiromastix, ■p. 202. 
 
124 THE WAR OF THE THEATRES. 
 
 In another passage Tucca says to Horace : "Thou hast been 
 at Parris garden hast not ? " and Horace replies, " Yes Cap- 
 taine, I ha plaide Zulziman there." 
 
 Tucca remarks : — 
 
 . . . thou hast forgot how thou amblest (in leather pilch) by a play- 
 wagon, in the high way, and tooks't mad Jeronimoes part, to get service 
 among the Mimickes: ^ 
 
 The fact that Jonson was at this time a Roman Catholic ''' 
 is thus noticed by Dekker, who makes Tucca say to Horace, — 
 
 Nay, I smell what breath is to come from thee, thy answer is, that there 's 
 no faith to be helde with Heritickes and Infidels, and therfore thou swear'st 
 anie thing:* 
 
 The meaning of the speeches about baldness is unknown, 
 unless indeed there be in them an allusion to Jonson's licen- 
 tiousness.^ The identity of Asinius is also unknown. 
 
 Most of the allusions in Satiroviastix are perfectly clear to 
 any one familiar with Jonson's early comedies, and it is there- 
 fore not necessary in the present discussion to point out any 
 but the most important. Some of the purely personal refer- 
 ences to Jonson have been mentioned, and we proceed to 
 notice next those passages in which Dekker replies to passages 
 in Jonson's plays. The characters in which Jonson had rep- 
 resented himself are thus referred to : — 
 
 Tucca (to Horace). No, you starv'd rascal, thou 't bite off mine eares 
 then, you must have three or foure suites of names, when like a lowsie Pe- 
 
 1 Satiromastix, p. 229. 
 
 2 Jonson was in prison in consequence of his duel (159S). " Then took he his 
 religion by trust, of a priest who visited him in prisson. Thereafter he was 12 
 yeares a Papist." Jonson^s Conversations with Drummond, p. 19. 
 
 * Satiromastix, p. 235. 
 
 * Mr. Fleay suggests that Gabriel Harvey "wrote against baldness: this may 
 throw some light on the Jonson speech in Dekker's Satiromastix." Chronicle of 
 the English Drama., II. 142. 
 
f 
 
 SATIROMASTIX. 12$ 
 
 diculous vermin th'ast but one suite to thy backe: you must be call 'd Asper, 
 and Criticus, and Horace, thy tytle's longer a reading then the Stile a the 
 big Turkes : Asper,i Criticus,- Quintus Horatius^ Flaccus.^ 
 
 The titles of Every Mmi in his Hmnoiir and Every Man out 
 of his Humour, as well as Jonson's theory of " humours," are 
 glanced at in the epithet "humorous," applied to Horace by 
 Dekker. 
 
 The general relation of Jonson's plays to the times is 
 indicated by the following words of Tucca, in which he men- 
 tions by name two of the plays : — 
 
 A Gentleman or an honest Cittizen shall not Sit in your pennie-bench 
 Theaters, with his Squirrel by his side cracking nuttes ; nor sneake into a 
 Taverne with his Mermaid ; but he shall be Satyr'd and Epigram'd upon, 
 and his humour must run upo'th Stage: you'll ha Every Gentleman in's 
 huvtour, and Every Gentle7>ian out on ^s /in/nonr.^ 
 
 When the King says, " True poets are with Arte and 
 Nature Crownd," ^ we have perhaps a reference to the Pro- 
 logue to Every Man in his Hiimoiir, in which Jonson de- 
 clares : — 
 
 Though need make many poets, and some such 
 
 As art and nature have not bettered much ; 
 
 Yet ours for want hath not so loved the stage, etc. 
 
 Crispinus says that Horace " calles himselfe the whip of 
 men."'' This is probably an allusion to the Induction of 
 Every Man out of his Humour, in which Asper declares : — 
 
 . . . with an armed and resolved hand, 
 1 '11 strip the ragged follies of the time 
 Naked as at their birth . . . and with a whip of steel, 
 Print wounding lashes in their iron ribs. 
 
 ^ Every Man out of his Humour. 
 
 •^ Cynthia's Revels, quarto. In the folio the name is Crites. 
 ^ Poetaster. 
 
 * Satiromastix, p. 200. ^ ibid., p. 256. 
 
 I ^ ibid., p. 234. "^ ibid. 
 
126 THE WAR OF THE THEATRES. 
 
 Horace is threatened with having to " sit at the upper ende 
 of the Table, a th left hand of Carlo Buffon," ^ a fate which 
 shows that Every Man out of his Humour, with its satire on 
 Marston, as Carlo, was not forgotten. The Palinode, sung 
 by the disgraced maskers at the conclusion of Cynthia s Revels, 
 seems to have been greatly resented, for it is alluded to several 
 times by Dekker. Horace speaks of " the Palinode which I 
 meane to stitch to my Revels" ;^ he is called "Palinodicall 
 rimester," ^ and Sir Vaughan refers to the " Polinoddyes" * 
 and " Callin-oes." ^ The oath which Horace takes at the end 
 of the play was suggested not only by the oath administered 
 to Crispinus and Demetrius in Poetaster, but also by the 
 Palinode. Asinius Bubo, "Horace's Ape," used "connive," 
 and was ridiculed for it by his barber, who said : — 
 
 Master Asinius Bubo, you liave eene Horaces wordes as right as if he 
 had spit them into your mouth. ^ 
 
 As Gifford pointed out, the word "connive" was used by 
 other dramatic writers, without the preposition." "' Jonson, 
 however, makes Moria say, in CyntJiia s Revels (IV. i), "there- 
 fore there is more respect requirable howsoe'er you seem to 
 connive." 
 
 Jonson wrote in the Prologue to Cytithias Revels : — 
 
 Our doubtful author hopes this is their sphere, 
 
 And therefore opens he himself to those, 
 
 To other weaker beams his labours close, 
 
 As loth to prostitute their virgin strain, 
 
 To every vulgar and adulterate brain. 
 
 In this alone, his Muse her sweetness hath, 
 
 She shuns the print of any beaten path ; 
 
 And proves new ways to come to learned eares: 
 
 1 Satiromastix, p. 263. ■* ibid., p. 241. 
 
 ■^ ibid., p. 194. ^ ibid., p. 260. 
 
 •^ ibid., p. 234. " ibid., p. 212. 
 
 "^ /onson, ed. (jifford, II. 300. 
 
SATIROMASTIX. 12/ 
 
 Dekker makes Horace say : — 
 
 That we to learned eares should sweetly sing, 
 But to the vulger and adulterate braine 
 Should loath to prostitute our Virgin straine.^ 
 
 When Sir Vaughan says — 
 
 Horace is ambition, and does conspire to bee more hye and tall as 
 God a mightie made him, wee '11 carry his terrible person to Court, and there 
 before his Majestie Dub, or what you call it, dip his Muse in some licour, 
 and christen him, or dye him, into collours of a Poet.^ 
 
 we have perhaps an allusion to the differences between 
 Daniel, who was poet-laureate, and Jonson, who wished to be. 
 Hedon (Daniel) is called "ambition" by Philautia in Cynthia s 
 Revels, IV. i. 
 
 When Cynthia s Revels was performed at court, it evidently 
 failed to meet with approval, for when the quarto was pub- 
 lished (1601) it bore on the title-page the motto, — 
 
 Quod non dant proceres, dabit histrio — 
 
 Haud tamen invideas vati, quem pulpita pascunt. 
 
 It is perhaps to the state of affairs indicated by this motto 
 that Sir Vaughan refers, when he tells Horace — 
 
 . . . when your Playes are misse-likt at Court, you shall not crye Mew 
 Hke a Pusse-cat, and say you are glad you write out of the Courtiers 
 Element.^ 
 
 One of the most interesting references to Cynthia s Revels 
 is in the passage in which Dekker identifies Demetrius with 
 Hedon.4 
 
 Horace. That same Crispinus is the silliest Dor, and Fannius the 
 slightest cobweb-lawne peece of a Poet, oh God ! 
 Why should I care what every Dor doth buz 
 In credulous eares, it is a crowne to me. 
 That the best judgements can report me wrong'd. 
 
 1 Satiromastix, p. 213. ^ ibid., p. 262. 
 
 2 ii,id., p. 246. * See above, p. 80. 
 
128 THE WAR OF THE THEATRES. 
 
 Asinius. I am one of them that can report it. 
 
 Horace. I thinke but what they are, and am not mov'd. 
 
 The one a light voluptuous Reveler, 
 
 The other, a strange arrogating puffe 
 
 Both impudent, and arrogant enough. 
 Asinius. S'lid, do not Criticus Revel in these lynes, ha, Ningle, ha? 
 Horace. Yes, they're mine owne.^ 
 
 The four men satirized in Cynthia s Revels are called by 
 Jonson "Arachnean workers," and a " knot of spiders," and 
 their conversation is called "cobweb stuff." ^ It is this to 
 which Dekker alludes in the expression " cobweb-lawne peece 
 of a Poet." Horace quotes, with slight changes, lines of 
 Crites concerning Hedon (Daniel) and Anaides (Marston). 
 
 Crites. What should I care what every dor doth buz 
 In credulous ears .'' It is a crown to me 
 That the best judgments can report me wronged ; 
 
 'Tis Hedon and Anaides, alas, then 
 
 I think but what they are, and am not stirred. 
 
 The one a light voluptuous reveller, 
 
 The other, a strange arrogating puff. 
 
 Both impudent, and ignorant enough. ^ 
 
 Passages in Poetaster also are quoted and parodied by 
 Dekker, and there are numerous allusions to the play. When 
 Horace is discovered in his study, he is composing a poem in 
 which Dekker ridicules some lines recited by Horace in 
 Poetaster, HI. i. 
 
 Swell me a bowl with lusty wine, 
 Till I may see the plump Lyaeus swim 
 
 Above the brim : 
 I drink as I would write, 
 In flowing measure filled with flame and sprite. 
 
 ^ Satiromastix, p. 195. 
 
 2 Cynthia's Revels, III. 2. 
 
 3 ibid. 
 
SATIROMASTIX. 1 29 
 
 Dekker ridicules particularly the last line and the word 
 "swim," and makes Horace say : — 
 
 To thee whose forehead swels with Roses 
 
 For I to thee and thine immortall name, 
 
 In flowing numbers fild with spright and flame.^ 
 
 The book that Asinius reads " smels of Rose-leaves," ^ 
 which may be because Horace dips his "pen in distilde 
 
 Roses." ^ 
 
 There are several allusions to the pills given to Crispinus 
 {Poetaster, V. i), as, for example, where Crispinus says to 
 Horace : — 
 
 when your dastard wit will strike at men 
 In corners, and in riddles folde the vices 
 Of your best friends, you must not take to heart. 
 If they take off all gilding from their pilles 
 And onley offer you the bitter Coare.* 
 
 A little further on Crispinus says : — 
 
 We come like your Phisitions, to purge 
 
 Your sicke and daungerous minde of her disease.^ 
 
 The scene in Poetaster in which the pills are given to Cris- 
 pinus was adapted from the Lexiphanes of Lucian — a fact 
 which is referred to by Tucca when he calls Horace Lucian.^ 
 
 Jonson's shabby clothes were frequently ridiculed by his 
 enemies. Tucca calls Horace " that Judas yonder that walkes 
 in Rug," 7 referring to the rug gown of the scholar. Jonson 
 had referred to the clothes worn by Crispinus and Demetrius : 
 
 1 Satiromastix, p. 191. The lines omitted represent Horace in difficulties over 
 his rhymes. 
 
 2 ibid., p. 199- ' '^''^■' P- '9^- 
 
 3 ibid., p. 197- ' ''^''^■' P- -^5- 
 ^ibid. -^ ibid., V -^99- 
 
130 THE WAR OF THE THEATRES. 
 
 Horace (to Crispinus). Yes, sir ; your satin sleeve begins to fret at the 
 rug that is underneath it, I do observe ; and your ample velvet bases are 
 not without evident stains of a hot disposition naturally.i 
 
 Histrio (of Demetrius). O, sir, his doublet's a little decayed. . . . "^ 
 
 Dekker had in mind these two passages when he made 
 Tucca say to Horace — 
 
 Thou wrongst heere a good honest rascall Crispinus, and a poore varlet 
 Demetrius Fanninus (bretheren in thine owne trade of Poetry), thou sayst 
 Crispinus Sattin dublet is Reavel'd out heere, and that this penurious 
 sneaker is out of elboes. . . .^ 
 
 In another passage Tucca says to Horace : — 
 
 Good Pagans, well said, they have sowed up that broken seame-rent lye 
 of thine, that Demetrius is out at Elbowes, and Crispinus is falne out with 
 Sattin heere, they have; 
 
 Tucca. 1st not better be out at Elbowes, then to bee a bond-slave and to 
 goe all in Parchment as thou dost } 
 
 Horace. Parchment, Captaine ? tis Perpetuana I assure you."* 
 
 This is perhaps a reference to the remark of Hedon con- 
 cerning Crites (Jonson), — 
 
 " By this heaven I wonder at nothing more than our gentlemen ushers, 
 that will suffer a piece of serge or perpetuana to come into the presence . . . ^ 
 
 Jonson's slowness in writing his plays was evidently a 
 common subject of jest. He stated in the Envy Prologue to 
 Poetaster that he wrote the play in fifteen weeks, a statement 
 to which Tucca refers when he says, "Will he bee fifteene 
 weekes about this Cockatrice's ^gg^ too } " ^ 
 
 1 Poetaster, III. i. #4 ibid., p. 245. 
 
 2 ibid. ^ Cynthia's Revels, III. 2. 
 
 3 Satirotnastix, p. 201. ^ Satiromastix, p. 202. 
 
SATIROMASTIX. 
 
 131 
 
 Tucca calls Horace a " Nastie Tortois " and says : — 
 
 you and your Itchy Poetry breake out like Christmas, bat once a 
 veare'and then you keepe a RevelUng, and Araigning and a Scratching of 
 men 'faces, as tL you were Tyber the long-tail'd Prince of Rattes, doe 
 
 vou 
 
 ? 1 
 
 One new play each year was written by Jonson ni 1598, 
 I ego 1600, and 1601, and the allusion to the titles of 
 Cynilnas Revels and Poetaster or his Arrmgnntent is apparent.^ 
 
 The - Ooh ! " uttered by Horace ^ is a reply to the " Ooh ! 
 of Crispinus in Poetaster (V. i). , ^ • • 
 
 Horace, in Poetaster (HI. i), refers to the poetry of Crispi- 
 nus as Mewd solecisms," but in Satiromasttx Horace will 
 .< rather breath out Soloecismes"* than "wound " the "worth 
 
 of Tucca. T^ u • "5 
 
 When Tucca says to Asinius, " arise, deere Lccho, rise, 
 we have perhaps an allusion to Cynthia s Revels (I. i), where 
 Mercury summons Echo, — 
 
 Arise, and speak thy sorrows, Echo rise. 
 Marston evidently resented being called a " gentleman 
 parcel-poet," « for Tucca says "the Parcell-Poets shall Sue thy 
 wran-ling Muse in the Court of Pernassus . . . ' ' 
 
 When Horace is about to be tossed in a blanket, he asks, - 
 
 Why, would you make me thus the ball of scorne ? 
 and he is answered by Tucca in a passage full of allusions to 
 Poetaster. 
 
 1 Sathomastix, p- 259. 
 
 2 Poetcrster is referred to by name on p. 235 of SaUromasUx. 
 ^ Satiromastix. p. 260. 
 
 < ibid., p. 234. 
 - 5 ibid., p. 230. 
 
 6 Poetaster, IV. 3. 
 
 7 Satiromastix, p. 235. 
 
132 THE WAR OF THE THEATRES. 
 
 He tell thee why, because th'ast entred Actions of assault and battery, 
 against a companie of honourable and worshipfuU Fathers of the law : you 
 wrangling rascall, law is one of the pillers ath land, and if thou beest bound 
 too't (as I hope thou shalt bee) thou 't proove a skip-Jacke, thou't be whipt. 
 He tell thee why, because thy sputtering chappes yelpe, that Arrogance and 
 Impudence and Ignoraunce, are the essentiall parts of a Courtier.i 
 
 In Cynthia s Revels (II. i) Mercury says of Anaides 
 (Marston) : — 
 
 ... he has two essential parts of the courtier, pride and ignorance. . . . 
 'Tis Impudence itself, Anaides ; 
 
 The attack on law and lawyers, made by Jonson in Poetaster, 
 was resented, and he was brought before the Lord Chief Jus- 
 tice for it. He was evidently put under oath not to repeat the 
 offence. It is to this that Dekker probably refers in the fol- 
 lowing passage : — 
 
 Titcca (to Horace). I know now th'ast a number of these Qiiiddifs to 
 binde men to 'th peace: tis thy fashion to flirt Inke in everie man's face; and 
 then to craule into his bosome, and damne thy selfe to wip 't off agen : . . . 
 I could make thine eares burne now, by dropping into them, all those hot 
 oathes, to which, thy selfe gav'st voluntarie fire (when thou was the man in 
 the Moone) that thou wouldst never squib out any new Salt-peter Jestes 
 against honest Tucca, nor those Maligo-tasters, his Poetasters ; I could 
 Cinocephalus, but I will not, yet thou knowst thou hast broke those oathes 
 in print, my excellent infernal!.^ 
 
 Further reasons for tossing Horace in a blanket are thus 
 given by Tucca : — 
 
 lie tell thee why, because thou cryest ptrooh at worshipfuU Cittizens, and 
 cal'st them Hat-caps, Cuckolds, and banckrupts, and modest and vertuous 
 wives punckes and cockatrices. He tell thee why, because th'ast arraigned 
 two Poets against all lawe and conscience ; and not content with that, hast 
 turn'd them amongst a company of horrible blacke Fryers.^ 
 
 * Satiromastix, p. 244. ^ jitjd,^ p. 235. * ibid., p. 244. 
 
SATIROMASTIX. 1 33 
 
 The last statement refers of course to the arraignment of 
 Crispinus and Demetrius in Poetaster, which was performed at 
 Blackfriars by the Chapel children. ^ Albius and Chloe, a citi- 
 zen and his wife, are in Poetaster (IV. i ; IV. 3) called the 
 names mentioned by Tucca. 
 
 Jonson made Demetrius confess that his reason for malign- 
 ing" Horace was — 
 
 that he kept better company, for the most part, than I ; and that better 
 men loved him than loved me. . . . ^ 
 
 Dekker remembered this, and Horace is made to say — 
 
 They envy me because I holde more worthy company. ^ 
 
 When Demetrius appears in Poetaster (III. i) Tucca has 
 just ordered Minos and the two Pyrgi to present "the Moor." 
 This evidently annoyed Dekker, who in Satiromastix says that 
 Fannius " cut an Innocent Moore i' th middle, to serve him in 
 twice ; and when he had done, made Poules-worke of it,* as for 
 these Twynnes, these Poet-apes : Their Mimicke trickes shall 
 serve." ^ The title " Poet-ape " offended the men to whom Jon- 
 son applied it, for when Horace has taken the oath Crispinus 
 says to him : — 
 
 ^ The fact that the play was performed at Blackfriars is alluded to in the Epi- 
 logue to Satiromastix spoken by Tucca, who says, " I recant the opinions which I 
 helde \i.e., in Poetaster'] of Courtiers, Ladies, and Cittizens, when once (in an 
 assembly of Friers) I railde upon them : " 
 
 2 Poetaster, V. i. In the oath administered to Crispinus and Demetrius, they 
 swear that they will never again malign Horace " for keeping himself in better 
 acquaintance, or enjoying better friends." 
 
 ^ Satiromastix, p. 244. 
 
 * The allusion to the Moor is explained by Mr. Fleay as referring to The Life 
 and Death of Captain Thomas Stukeley. " Dekker had patched up the play with 
 half of one by Peele on the Moor Mahomet, and then published it." Chro7iicle of 
 the English Drama, I. 128. 
 
 ^ Satiromastix, p. 212. 
 
134 fHE WAR OF THE THEATRES. 
 
 That fearefuU wreath, tliis honour is your due, 
 All Poets shall be Poet-Apes but you ; * 
 
 The allusions to Poetaster are of course more numerous 
 than those to any other play. Dekker borrowed from that 
 play the characters concerned in the satire on Jonson, and the 
 trial scene before William Rufus is based on the last scene in 
 Poetaster. We do not know whether Dekker had ever heard 
 or read the Apologetical Dialogue^ which was afterwards 
 appended to Poetaster in the folio of 1616, but it is probable that 
 Jonson, when in difficulty with the lawyers for satirizing them^ 
 had made representations similar to those in the Dialogue. 
 He claimed to have attacked only sin, and to have spared per- 
 sons, and this seems to have been particularly exasperating to 
 the men whom he had undoubtedly represented on the stage.' 
 Dekker has made much of this declaration of innocence on the 
 part of Jonson, and in several passages Horace is upbraided for 
 satirizing men and then denying having done so. Demetrius 
 (Dekker) seems to have no bitterness toward Horace, but in 
 every speech exhibits a magnanimity that is in sharp contrast 
 to the arrogant and self-sufficient tone of Jonson's satirical 
 plays. Mention was made above of the passage in which 
 Dekker speaks of four men as pointing " with their fingers in 
 one instant at one and the same man."^ These four were 
 the men whom Jonson had attacked in Every Man out of his 
 Hutnour and Cynthia s Revels. These men probably were 
 responsible for the writing of Satiroinastix, for, so far as we 
 
 1 ibid., p. 263. The Envy Prologue to Poetaster imkia, "Are there no players 
 here.' no poet apes ? " Epigram 56 is On Poet Ape, probahly Marston or 
 Dekker. 
 
 2 Jonson tells us that the Apologetical Dialogue was "only once spoken upon 
 the stage," but we do not know when. The note appended to the quarto, 1602, 
 mentions an apology \yhich the author was " restrained ... by authority " from 
 publishing (see above, p. 102, note 4). 
 
 3 p. 76. 
 
SATIROMASTIX. 135 
 
 can judge from the evidence at hand, it is unlikely that Dekker 
 would have undertaken the task on his own account. 
 
 Horace is brought before King William Rufus, and is by 
 him turned over to Crispinus (Marston) for punishment. 
 
 King. If a cleare merrit stand upon his praise, 
 
 Reacli him a Poet's Crowne (the honour'd Bayes) 
 But if he clainie it, wanting right thereto, 
 (As many bastard Sonnes of Poesie doe) 
 Race dovvne his usurpation to the ground. 
 True Poets are with Arte and Nature Crown'd. 
 But in what molde so ere this man bee cast. 
 We make him thine Crispinus, wit and judgement, 
 Shine in thy numbers, and thy soule I know, 
 Will not goe arm'd in passion gainst thy foe : 
 Therefore be thou our selfe ; whilst our selfe sit, 
 But as spectator of this Sceane of wit.^ 
 
 Throughout the play Tucca bullies Horace and abuses him. 
 A comparison is made between a picture of the Roman Horace 
 and one of Horace-Jonson,^ who is thus arraigned by Cris- 
 pinus : — 
 
 Under controule of my dreade Soveraigne, 
 We are thy Judges ; thou that didst Arraigne, 
 Art now prepar'd for condemnation ; 
 Should I but bid thy Muse stand to the Barre, 
 Thyselfe against her wouldst give evidence : 
 For flat rebellion gainst the Sacred lawes 
 Of divine Poesie : heerein most she mist. 
 Thy pride and scorne made her turne Saterist, 
 And not her love to vertue (as thou Preachest) 
 Or should we minister strong pilles to thee : 
 What lumpes of hard and indigested stuffe. 
 Of bitter Satirisme, of Arrogance, 
 Of Self-love, of Detraction, of a blacke 
 
 '^ Satiroinastixi p. 256. 
 
 2 cf. the two pictures introduced in Antonio and Mellida (see above, p. 98). 
 
136 THE WAR OF THE THEATRES. 
 
 And stinking Insolence should we fetch up? 
 But none of these, we give thee what's more fit, 
 With stinging nettles Crowne his stinging wit.i 
 
 This is the reply to the scene in which Crispiniis is given 
 the emetic pills.^ 
 
 The oath which is administered to Horace is a reply both to 
 the Palinode, sung by the false courtiers in Cynthia s Revels, 
 and to the oath taken by Crispinus and Demetrius in Poetaster. 
 With this oath the formal answer to Jonson's play ends. 
 
 ' Satirotitastix, p. 259. 
 ■•^ Poetaster, V. i. 
 
I 
 
 X. 
 
 WHAT YOU WILL. 
 
 The last play of Marston's in which there is an unmistakable 
 attack on Jonson is IV/ia^ Yoii Will, first published in 1607.^ 
 We do not know when it was written, but it was probably 
 before the reconciliation with Jonson (to whom, in 1604, Mar- 
 ston dedicated TJie Malcontent'^), and after Poetaster' {1601), 
 which quotes from it no "fustian " words. 
 
 That the play contained personal satire is shown by the tone 
 of the Induction spoken by Atticus, Doricus, and Philomuse, 
 friends of the author. They refer to the presence near the 
 stage of Sir Signior Snuff, Monsieur Mew, and Cavaliero Blirt, 
 "three of the most-to-be-feared auditors."^ Philomuse, the 
 author's particular friend, defies and tries to disarm criticism 
 by declaring that the author's spirit — 
 
 Is higher blooded than to quake and pant 
 
 At the report of Scoff's artillery. 
 
 Shall he be crest-fall 'n, if some looser brain, 
 
 1 The writer in The North British Review, July, 1870, thinks that Marston 
 "made a study of him [Jonson] as Malevole in The Malcontent" (p. 402); and also 
 that " Jonson seems to have understood the play \^Parasitaster'\ as aimed at him, 
 and as calling him both parasite and fawn " (p. 404, note i). There seems to be no 
 sufficient reason for either of these statements. 
 
 2 See above, p. 118. 
 
 3 Mr. Fleay thinks that Sir Signior Snuff, Monsieur Mew, and Cavaliero Blirt 
 " mean Armin, Jonson, and Middleton," and that Philomuse is " Daniel, whose 
 Musophilus was written 1599." Chrotticle of the English Drama, II. 77. These 
 identifications must stand as mere conjectures, for there seems to be no means of 
 proving them. 
 
138 THE WAR OF THE THEATRES. 
 
 In flux of wit uncivilly befilth 
 His slight composures ? Shall his bosom faint, 
 If drunken Censure belch out sour breath 
 From Hatred's surfeit on his labour's front?* 
 
 The Prologue also defies criticism in saying of the author: — 
 
 Nor labours he the favour of the rude, 
 
 Nor offers sops unto the Stygian dog, 
 
 To force a silence in his viperous tongues ; 
 
 Nor cares he to insinuate the grace 
 
 Of loath'd detraction, nor pursues the love 
 
 Of the nice critics of this squeamish age ; 
 
 Nor strives he to bear up with every sail 
 
 Of floating censure ; nor once dreads or cares 
 
 What envious hand his guiltless muse hath struck. 
 
 The "envious hand" may have been Jonson's. 
 
 There are in W/iat Yoii Will two characters who, whenever 
 they meet, engage in mutual abuse and wrangling. Lampatho 
 and Quadratus are almost certainly representations of Marston 
 and Jonson respectively.'-^ The passage which indicates clearly 
 the identity of Lampatho is as follows : — 
 
 Lampatho. So Phoebus warm my brain, I '11 rhyme thee dead. 
 
 Look for the satire : if all the sour juice 
 
 Of a tart brain can souse thy estimate 
 
 I '11 pickle thee. 
 Quadratus . Ha ! he mount Chirall on the wings of fame ! ^ 
 
 1 This is possibly an allusion to the scene in Poetaster (V. i) in which Crispinus 
 (Marston) is made to disgorge the " fustian " words. 
 
 2 Professor Ward is probably mistaken in his identification of Quadratus with 
 Hall. He says: " In a scene (II. i) the author evidently identifies the poet Lam- 
 patho Doria with himself, and the foul-mouthed Quadratus, whom Lampatho 
 threatens to 'rhyme dead' by a 'satire,' with his adversary, Hall." A History of 
 English Dramatic Literature, II. 64. 
 
 8 cf. Induction to Mitcedoriis, " And raise his chival with a lasting fame." 
 "Chirall" may have been printed for "chival." See Mr. Bullen's note. Marston, 
 ed. Bullen, I. 349. 
 
WHAT YOU WILL. 
 
 139 
 
 Siniplichis. 
 Qiiadrattis. 
 
 Lampatho. 
 QuadratHs. 
 
 Lampatho. 
 Quadrat lis. 
 
 A horse ! a horse ! My kingdom for a horse ! ' 
 
 Look thee, I speak play-scraps. Bidet, I '11 down, 
 
 Sing, sing, or stay, we '11 quaff, or anything. 
 
 Rivo, Saint Mark, let 's talk as loose as air ; 
 
 Unwind youth's colours, display ourselves. 
 
 So that yon envy-starved cur may yelp 
 
 And spend his chaps at our fantasticness. 
 
 O Lord, Ouadratus ! 
 
 Away, idolater ! Why, you Don Kinsayder ! 
 
 Thou canker-eaten rusty cur ! thou snaffle 
 
 To freer spirits ! 
 
 Thinkst thou, a libertine, an ungyved breast. 
 
 Scorns not the shackles of thy envious clogs.? 
 
 You will traduce us into public scorn ^. 
 
 By this hand I will. 
 
 A foutra for thy hand, thy heart, thy brain ! 
 
 Thy hate, thy malice, envy, grinning spite ! 
 
 Shall a free-born, that holds antipathy — 
 
 Antipathy ! 
 
 Ay, antipathy, a native hate 
 
 Unto the curse of man, bare-pated servitude, 
 
 Quake at the frowns of a ragg'd satirist — "^ 
 
 The fact that Lampatho is called " Don Kinsayder ... a 
 ragg'd satirist," is sufficient to identify him as Marston,^ who, 
 at the end of his note "To those that Seeme Judiciall Peru- 
 
 1 Richard I/I., V. 4. This line was parodied by Marston in the The Scourge of 
 Villanie, Satire VIL, " A man ! a man ! a kingdom for a man ! " and in Parasi- 
 
 taster, V. i, "A fool, a fool, a fool, my coxcomb for a fool ! " 
 
 2 IL I. 
 
 ^ Mr. BuUen, while recognizing that Marston and Jonson both appear in What 
 You Will, makes the strange mistake of identifying Quadratus with Marston and 
 Lampatho with Jonson. " Quadratus' scathing ridicule of Lampatho Doria, in the 
 first scene of the second act, was certainly aimed at some adversary of Marston's ; 
 and there can be little doubt that this adversary was Ben Jonson " {^Marston, ed. 
 Bullen, I. xlvi). " Curious that Marston should apply his own no7n de plume, 
 ' Kinsayder,' to the adversary whom he is bullying ! " Ibid., p. xlvii. It would in- 
 deed have been strange if he had. " But it is not to be doubted that Quadratus' 
 abuse of Lampatho was levelled at Ben Jonson." Ibid., p. .xlviii. Mr. Bullen 
 notices the similarity between the speeches mentioned above. 
 
140 THE WAR OF THE THEATRES. 
 
 sers,"^ prefixed to The Scourge of Villanie, signed himself 
 W. Kinsayder, and who is referred to as " Monsieur Kinsayder" 
 by the author of The Return front Parnassus."^ The passage 
 quoted above shows the relations existing between Ouadratus 
 and Lampatho throughout the play. 
 
 That Ouadratus is Jonson is indicated by the following 
 speech (II. i) which imitates a speech of Crites in Cynthia's 
 Revels, III. 2.3 
 
 Quadratus. No, Sir ; should discreet Mastigophoros, 
 Or the dear spirit acute Canaidus 
 (That Aretine, that most of me beloved, 
 Who in the rich esteem I prize his soul, 
 I term myself) ; should these once menace me, 
 Or curb my humours with well-govern'd check, 
 1 should with most industrious regard, 
 Observe, abstain, and curb my skipping lightness. 
 
 A noteworthy encounter between Quadratus and Lampatho, 
 in IV. I, contains two allusions which, taken together, are 
 almost sufficient to fix the identity of the two men. 
 
 Quadratus (of Lampatho). A tassel that hangs at my purse-strings. 
 He dogs me, and I give him scraps, and pay for his ordinary, feed him ; he 
 Hquors himself in the juice of my bounty ; and when he hath suck'd up 
 strength of spirit he squeezeth it in my own face ; when I have refined and 
 sharp'd his wits with good food, he cuts my fingers, and breaks jests upon 
 me. I bear them and beat him ; but by this light the dull-ey'd thinks he 
 does well, does very well ; but that he and I are of two faiths — I fill my 
 belly and [he] feeds his brain — I could find in my heart to hug him — to 
 hug him. 
 
 1 See above, p. 3. 
 
 '■^ The Return from Parnassus, I. 2. 
 
 2 Crites. ... If good Chrestus 
 
 Euthus, or Phronimus had spoke the words, 
 
 They would have moved me, and I should have called 
 
 My thoughts and actions to a strict account 
 
 Upon the hearing, etc. 
 
WHAT YOU WILL. I4I 
 
 The first part of this reminds us of the descriptions of Marston 
 as Carlo Buffone, " a good feast-hound or banquet-beagle, that 
 will scent you out a supper some three miles off,"^ and as 
 " Anaides of the ordinary." ^ 
 
 The beating which Quadratus gave Lampatho was perhaps 
 what Jonson referred to when he told Drummond that he 
 "beat" Marston.^ "He and I are of two faiths," is a state- 
 ment referring to the fact that Jonson was at that time a 
 Roman Catholic* 
 
 The stage war is clearly alluded to in the following pas- 
 sage : — 
 
 (2uadratus. The Irish flux upon thy muse, thy whorish muse. 
 Here is no place for her loose brothelry. 
 We will not deal with her. Go ! away, away ! 
 
 Latnpatho. I '11 be revenged. 
 
 Quadratus. How, prithee .'' in a play ? Come, come, be sociable. 
 In private severance from society ; 
 Here leaps a vein of blood inflamed with love. 
 Mounting to pleasure, all addict to mirth ; 
 Thou 'It read a satire or a sonnet now, 
 Clogging their airy humour with — 
 
 Latnpatho. Lamp-oil, watch-candles, rug-gowns, and small juice. 
 
 Thin commons, four o'clock rising, — I renounce you all. 
 
 Now may I 'ternally abandon meat. 
 
 Rust, fusty, you which most embraced disuse, 
 
 You ha' made me an ass ; thus shaped my lot, 
 
 I am a mere scholar, tliat is a mere sot.^ 
 
 It is probable that the last words of Lampatho here are 
 ironical, with allusion, however, to Jonson's well-known position 
 as a scholar. Crites (Jonson) is said by Anaides (Marston) to 
 
 ^ " Character" of Carlo Buffone, prefixed to Every Man out of his Humour. 
 
 2 Cynthia's Revels., I. i. 
 
 ^ See Jonson^ s Conversations with Drummond, pp. 1 1 , 20. 
 
 * See above, p. 1 24. 
 
 6 IV. I. 
 
142 THE WAR OF THE THEATRES. 
 
 smell " all lamp-oil with studying by candle-light." ' Rug 
 gowns were worn, not only by scholars, but also by astrologers, 
 and we have a record of Jonson's having officiated on one 
 occasion in the latter capacity, for he told Drummond of an 
 appointment which he made with "a lady . . . to meet ane 
 old Astrologer, in the suburbs, . . . and it was himself dis- 
 guysed in a longe gowne and a whyte beard at the light of 
 dimm burning candles." ^ There are numerous allusions to 
 Lampatho as a satirist, and also to Quadratus as being fond of 
 wine. A probable reference to Jonson's physical size is Lam- 
 patho's statement (III, 2), "I'll make greatness quake: I'll 
 taw the hide of thick-skin 'd Hugeness," to which the following 
 reply is made : — 
 
 Laverdiire. 'T is most gracious ; we 'II observe thee calmly. 
 Quadratus. Hang on thy tongue's end. Come on ! prithee do. 
 Lampatho. I '11 see you hanged first, I thank you, sir, I '11 none. 
 
 This is the strain that chokes the theatres ; 
 
 That makes them crack with full-stuff'd audience ; 
 
 This is your humour only in request, 
 
 Forsooth to rail ; this brings your cars to bed ; 
 
 This people gape for ; for this some do stare. 
 
 This some would hear to crack the author's neck. 
 
 It is probable that every time the word "hang" is used in 
 connection with any representation of Jonson, there is an allu- 
 sion to his narrow escape from the gallows.^ There is in the 
 lines of Lampatho a clear indication that the public took a 
 keen interest in these satirical plays. Marston did not forget 
 to ridicule Jonson's clothes, for at the beginning of the second 
 act, when Quadratus is announced Laverdure says : — 
 
 I '11 not see him now. on mv soul : lie 's in his old perpetuana suit. 
 
 ^ Cynthia's Revels, III. 2. 
 
 '^Jonson's Conversations with Drummond, p. 21. 
 
 3 See above, p. 7. 
 
WHAT YOU WILL. 143 
 
 When Quadratus declares (II. i), " Epithalamiums will I 
 sing," we are reminded of the frequent allusion to Jonson's 
 Epithalamiums in Satiromastix } In the last act Quadratus is 
 made to use "real," one of the "new-minted epithets" so ridi- 
 culed by Marston in The Scourge of Villanie,^ and he promises 
 to present in a play "a subject worth thy soul ; the honour'd 
 end of Cato Utican." Mr. Fleay thinks, "possibly this is the 
 play of CcBsar and Pompey afterwards finished by Chapman, 
 but not acted." ^ 
 
 1 See above, p. 1 20. 
 
 2 See above, p. 8. 
 
 3 Chronicle of the English Drama, II. 76. 
 
XI. 
 
 THE RETURN P^ROM PARNASSUS AND TROILUS 
 AND CRESSIDA. 
 
 In our discussion up to this point we have found no evidence 
 that Shakespeare was involved in " The War of the Theatres." 
 The Return froju Parnassus, a play " Publiquely acted by the 
 students in Saint Johns Colledge in Cambridge" (as we are in- 
 formed by the title-page of the quarto edition, 1606) contains 
 one of the most interesting references to the quarrel of Mar- 
 ston and Jonson, for upon the passage have been founded many 
 of the stories of the alleged enmity and quarrels of Ben Jonson 
 and Shakespeare. The Return from Pajiiassiis was performed 
 at Christmastide, 160 1-2, as is shown by internal evidence.^ 
 
 ^ Professor Arber has reprinted the quarto edition (1606) of this play in T/ie 
 English Scholar s Library, No. 6. Prefi.xed to the text is a short discussion of the 
 date at which the play was written. Professor Arber's results may be summarized as 
 follows (references are to pages of the reprint) : i. The play is the last of a series 
 of three plays by the same author (p. 5). 2. It was written and represented in 
 Elizabeth's reign (p. 28). 3. It was written and represented subsequent to nth 
 August, 1600. On this date Belvedere, or the Garden of the Muses, the work at- 
 tacked pp. 9, 10, was entered at the Stationers' Hall. 4. It was written for a 
 Christmastide performance at St. John's College, Cambridge (pp. 4, 5,42,64,66). 
 As Queen Elizabeth died on the 24th March, 1603, we are of necessity shut 
 up to a choice between the Christmastides of 1 600-1, 160 1-2, 1602-3. 5. In- 
 ternal testimony establishes the writing of this play, for a first representation, in 
 the Christmastide of 1601-2, 44 Eliz., possibly for a New Year's Day, which 
 in 1602 (modern reckoning) fell on a Friday. The dominical letter is stated (p. 
 37) to have been C, which gives January i, 1602, for the date. The dominical 
 letter of 1601 was D, which explains the play upon the letters C and D in the 
 reply of the Page to Sir Roderick (Act III. Sc. i, p. ;^j), " C the Dominicall letter : it 
 is true craft and cunning do so dominere ; yet rather C and D are dominicall letters 
 that is crafty Dunsery." 6. This date, 1601-2, is corroborated by the allusion to 
 
THE RETURN FROM PARNASSUS. I45 
 
 We know, from the passage with which we are especially con- 
 cerned, that the play as we have it was written after the per- 
 formance of Poetaster, to which there is direct allusion. There 
 is in the play much criticism of poets of the time, including 
 Jonson and Marston, but with this we are not concerned. We 
 are interested, however, in the following passage (IV. 3) : — 
 
 Kempe (to Btirbage). Few of the university pen plaies well, they smell 
 too much of that writer Ovid, and that writer Metamorphosis, and talke 
 too much of Proserpina ?iw6. Juppiter. Why heres our fellow Sliakespeare 
 puts them all downe, I and Ben Jonson too. O that Ben Jonson is a pesti- 
 lent fellow, he brought up Horace giving the Poets a pill, but our fellow 
 Shakespeare hath given him a purge that made him beray his credit.^ 
 
 What was the '♦purge" given by Shakespeare to Ben Jon- 
 son.? The natural answer is "a play." But, what play.? 
 The only play of Shakespeare's that it is at all possible to 
 suppose was the "purge" is Troihis and Cressida, and there is 
 
 the siege of Ostend and the Irish Rebellion, Ijoth of which were at that time in 
 progress (pp.43, 50, 52). 7. This play was registered for publication at Stationers' 
 Hall on the i6th October, 1605, and appeared in print with the date 1606. Mr. 
 Fleay gives, in his Chronicle of tlie EnglisJi Dra?na, II. 349-55- an interesting 
 account of T/ie Return from Parttassus, and an interpretation of the various char- 
 acters. In regard to the date he says : " There is abundance of evidence in this 
 play that fixes the date to 1601 or thereabouts " (p. 349). " The siege of Ostend 
 had commenced, Nash was deceased, etc., — but the conclusive datum lies in the 
 examination of Immerito, from which we learn that the dominical letter was C, 
 and that the last quarter of the moon was on the fifth day at 2h. 38 m. in the 
 morning. This fixes the date as January, 1602-3, and if confirmation be needed 
 we find it in what Momus says in the Prologue, ' What is here presented is an 
 old musty show, that hath lain this twelvemonth in the bottom of a coal-house ' " 
 (p. 354). The statement of Momus may be taken as showing that the play, 
 although written in 1601-2, was not acted until 1602-3. The dominical letter of 
 1603 was B, which does not accord with the statement in the play. 
 
 1 The passage is given here as it is in the quarto, reprinted by Professor Arber. 
 Professor Ward interprets the first mention of Ben Jonson's name as being in the 
 nominative case. The context shows that it is an object of " puts down " and not 
 a subject. Professor Ward's statement is: "The actor Kemp says — with some 
 truth — that our fellow, Shakespeare, aye, and Ben Jonson too, puts down all 
 the University play-writers." A History of En £;lish D}-amatic Literature, II. 152. 
 
146 THE WAR OF THE THEATRES. 
 
 evidence which seems to point to this play as in some way 
 connected with the quarrel between Marston and Jonson. The 
 sub-play in Histriomastix is Troilns and Cressida, in which 
 occur the lines: — 
 
 Thy knight his vaHant elbow wears, 
 That when he shakes his furious speare 
 The foe in shivering fearful sort 
 May lay him down in death to snort. 1 
 
 In Shakespeare's Troilus and Cressida (I. 3) is the line : — 
 
 When rank Thersites opes his mastic jaws. 
 
 The apparent play on Shakespeare's name in Marston's line 
 coupled with the fact that it occurs in a parody of a play called 
 Troilus and Cressida makes the line of Shakespeare seem a 
 reply. That it is so is by no means certain, for Shakespeare's 
 Troilns and Cressida is a play about the date of which there is 
 considerable doubt. Henslowe mentions a play, by Dekker 
 and Chettle, called " Troyeles and creasse daye,"^ and this 
 increases the difficulty of deciding whether Marston parodied 
 Shakespeare's play. The play which Henslowe mentions has 
 not come down to us. 
 
 1 Histriotnastix, II. 272-275. 
 
 2 " Lent unto Thomas Downton, to lende unto Mr. Dickers and harey cheattell, 
 in earneste of ther boocke called Troyeles and creasse daye, the some of '\\\£, 
 aprell 7 daye 1599." Henslowe'' s Diary, p. 147. 
 
 " Lent unto harey cheattell and Mr. Dickers, in pte of payment of ther boocke 
 called Troyelles and cresseda, xxs., the 16 of Aprell 1599." Ibid., p. 148. 
 
 " Lent unto Mr. Dickers and Mr. Chettell, the 26 of maye 1599, in earneste of a 
 Boocke called the tragedie of Agamemnon the some of xxxs." Ibid., p. 153. 
 
 " Lent unto Robarte Shawe, the 30 of maye, 1 599, in full paymente of the 
 Boocke called the tragedie of Agamemnone, the some of \\\£,, vs., to Mr. Dickers 
 and harey chettell." Ibid., p. 153. 
 
 " The Tragedie of Agamemnon " is clearly the same play as "Troyeles and 
 creasse daye." Collier says in his note that the title Agamemnon "is interlined 
 over the words ' Troylles and creseda.' " Ibid., p. 1 53. 
 
THE RETURN FROM PARNASSUS. 1 47 
 
 As the present form of Histnoniastix is of date 1599.' the 
 parody of Troilns and Crcssida which it contains may have 
 reference to this play of Dekker and Chettle. If this is the 
 case there is no connection between the line of Marston and 
 the line, of Shakespeare. The assumption that there is a con- 
 nection between the two lines has led to the conclusion that 
 in Shakespeare's play Thersites is Marston, and smce we are 
 told that Shakespeare gave Ben Jonson a "purge," it has been 
 concluded that Ajax is Jonson. Mr. Fleay supports the theory 
 that Troilus and Cressida was the " purge," and says : - 
 
 The " armed Prologue " \_Poetaster-\ is very important. He appears in 
 •confidence,' and is unquestionably alluded to in the "armed Prologue o 
 Troylus and Cressida, who does not " come in confidence It is then in 
 this play of Shakespeare's that we must expect to find the purge that he 
 .ave to Jonson in return for the pill Jonson administered to Marston (cf. Re- 
 ''turn from Parnassus, IV. 3) ; and whoever will take the trouble to com- 
 pare (he description of Crites in Cyntkrds Revels (II. 1) with that of Ajax 
 in Troylus and Cressida (I. 2) will see that Ajax is Jonson : slow as the 
 Elephant, crowded by Nature with ''humors," valiant as the L-n^diurhsh 
 as the Bear, melancholy without cause (compare Macilente). Hardly a 
 word is spoken of or by Ajax in II. 3, HI. 3, which does not apply hteraUy 
 to Jonson ; and in II. i he beats Thersites of the " mastic jaws (I. 3, 73, 
 Histriomastix,Theriomastix) as Jonson "beat Marston iDrun^ Conv 
 in Thersites in all respects resembles Marston, the railing satinst. But, 
 it will be objected, Troylus and Cressida was not acted. It was notsta ed 
 indeed, on the London stage, but in 1601 the Chamberlain's men travelled 
 and visited the Universities (see Hamlet in my Life of Shakespeare), and 
 I have no doubt acted Troylus and Cressida at Cambridge where the 
 author of The Return from Parnassus saw it. The " purge - Jr«m IL 
 , .03 "he'll be the physician that should be the patient. When the 
 Chamberlain's men returned to London at the close of .601, Jonson, Mars- 
 ton, and Shakespeare were reconciled, and Troylus was not produced on 
 the public stage.'^ 
 
 In this passage Mr. Fleay tries to prove that Troilus and 
 Cressida was the "purge" by adducing proof that Ajax was 
 
 1 See above, p. 32. '' Chromde of the Engltsh Drama, I. 366. 
 
148 THE WAR OF THE THEATRES. 
 
 Jonson. With the passage just quoted, compare the following 
 statements by Mr. Fleay : — 
 
 My hypothesis is that the " physic " given to " the great Myrmidon," I. 3, 
 378; III. 3, 34, is identical with the " purge " administered by Shakespeare 
 to Jonson in TIic Retiirti from Parnassus, IV. 3, and that the setting up of 
 Ajax as a rival to Achilles shadows forth the putting forward Dekker by 
 the King's men to write against Jonson his Satirof/iastix. The subsequent 
 defection of Thersites from Ajax to Achilles would then agree with the 
 reconciliation of Marston and Jonson in 1661, when they wrote together 
 Rosalind'' s Complaint} 
 
 In another passage Mr. Fleay says that Dekker is Thersites 
 in Troilus and Cressida? 
 
 In the first passage Mr. Fleay states that Ajax is Crites and 
 therefore Jonson, Thersites is Marston ; in the second passage, 
 Ajax is Dekker, Achilles is Jonson, and Thersites is Marston ; 
 in the third passage Thersites is Dekker. Dr. Cartwright de- 
 clares that " in Troibis and Cressida the character of Thersites, 
 be it accidental or intentional, is an inimitable caricature of 
 Crites and Horace, that is, of Jonson."^ These contradictory 
 statements by critics who advocate the theory that Troilus and 
 Cressida was the " purge," are sufficient to awaken doubts, even 
 though none had otherwise existed, as to the correctness of 
 the theory. Were it not for the passage in The Return from 
 Parnassus, it is not improbable that Shakespeare's name would 
 not have been connected with the quarrel of Jonson, Marston, 
 and Dekker. We have, however, the statement that Shake- 
 
 ^ Chronicle of the Etif^lisli Drama, II. 189. 
 
 2 ibid., I. 259. 
 
 ^ Shakespeare and fonso7i. Dramatic versus Wit Combats, p. 13. The writer of 
 an article entitled " Ben Jonson's Quarrel with Shakespeare " {The North British 
 Reviezo, July, 1870) states that " the reply to the Poetaster was Troilus and Cres- 
 sida'''' (p. 420) ; that " Achilles is Jonson" (p. 421), and "Thersites is Dekker" 
 (p. 422). The same critic calls attention (p. 424) to the interesting fact that in 
 Troilus and Cressida Shakespeare uses many unusual words, evidently in defiance 
 of Jonson's ridicule of Marston's words in Poetaster. 
 
THE RETURN FROM PARNASSUS. 1 49 
 
 speare gave Jonson "a purge that made him beray his credit," 
 and, for those who do not believe this to be a reference to 
 Troilus and Cressida, and who fail to find Jonson satirized in 
 any play of Shakespeare's, there remains a possible, but rather 
 unsatisfactory solution of the difficulty. Every Man in his 
 Humour and Every Man out of his Humour were first acted 
 by the Chamberlain's company, the former at the Curtain, the 
 latter at the Globe, which was built in 1599. Shakespeare 
 was one of the actors who presented Every Man in his Humour, 
 but, for some reason unknown to us, he did not act in Every 
 Man out of his Humour, although the play was performed by 
 the same company. The latter play contained Jonson's first 
 attack on Marston, and was in every way more direct and bitter 
 in its satirical representation of contemporaries, — a fact which 
 may explain Shakespeare's taking no part. Jonson's connec- 
 tion with the Chamberlain's company then ceased, and his next 
 two plays, Cynthia s Revels and Poetaster, were acted by the 
 Chapel children. When Dekker's Satiromastix, voicing the 
 general hostility to Jonson, was acted, it was by the Chamber- 
 lain's men at the Globe Theatre. This was by Shakespeare's 
 company at Shakespeare's theatre, and therein may have con- 
 sisted the giving of the " purge " to Jonson by Shakespeare. ^ 
 The author of The Retiini from Parnassjis makes no mention of 
 Satiromastix, unless the latter play be after all the "purge." 
 Gifford maintained that the "purge " was merely Shakespeare's 
 great superiority to other playwrights. The "purge" must 
 have been something more definite than this, and was presum- 
 
 1 " The author of The Ketiini from Farttasstcs could not have supposed that 
 Shakespeare was the author of the Satii-omastix ; nor is his statement explained 
 by the fact that that play was 'acted publicly by the Lord Chamberlain's ser- 
 vants,' even though we make the most improbable supposition that vShakespeare 
 acted the part of William Rufus in it." The N^orth British Review, July, 1870, 
 p. 397. The explanation is not unreasonable, however, in spite of the opinion 
 quoted. 
 
1 50 THE WAR OF THE THEATRES. 
 
 ably a play. Dr. Brinsley Nicholson attempts to cut the knot 
 by supposing the "purge" to have been some play of Shake- 
 speare's which has not come down to us — a play, moreover, per- 
 formed before Poetaster} The latter statement is at variance 
 with the evident meaning of the passage in The Return from 
 Paruass7is, while the supposition of a lost play is, at best, weak. 
 This problem, like so many others concerning the Elizabethan 
 drama, remains without any really satisfactory solution, and 
 Shakespeare's connection with "The War of the Theatres" 
 rests for proof wholly on the unexplained passage in The 
 Return from Parnassjis. 
 
 There have been numerous theories concerning Shakespeare's 
 plays in this connection, and many of his characters have been 
 identified by critics with Jonson, Marston, Dekker, and other 
 contemporaries.^ In no case has anything like sufficient proof 
 been adduced in support of the theories. 
 
 1 " It appears from The Return from Piu-nassus (IV. 3) that amongst the rest, 
 the gentle Shakespeare, taking up the cause of his fellow dramatists, and perhaps 
 also the interests of himself and his fellow actors, ridiculed him [Jonson] in some 
 piece that has not come down to us, and, in the purge that he administered, gave 
 Jonson the precedent for Horace's pills." Be>i Jonson, ed. Brinsley Nicholson, 
 Mermaid Series, I. 262. 
 
 2 For a presentation of some of the various views of the relations of Shake- 
 speare's plays to the quarrel, the reader is referred to T/ie North British Review, 
 July, 1870, "Ben Jonson's Quarrel with Shakespeare," and to Dr. Cartwright's 
 monograph, Shakespeare and Jonson, Di-atnatic versus Wit Combats. A specimen 
 of the kind of criticism by which Shakespeare has been involved in the stage war 
 is the following passage of Dr. Cartwright's (p. 50) : " We may take, as a secure 
 basis or ground to build upon, Jonson's three ' Comical Satires,' as he calls them: 
 Every Man oiU of his Hninour was brought out in 1599 ; Cynthia's Revels in 1600 ; 
 and the Poetaster in 1601. Shakespeare replies to the first in Much Ado, followed 
 by As You Like It ; about the same time Marston brings out the first and second 
 parts of Antonio and Mellida. .Shakespeare then, indignant at the fresh insults 
 offered to himself and Lyly in the characters of Amorphus and Asotus, pours 
 forth his wrath on Jonson as Apemanthus, and repays Marston for the travesty 
 of Hamlet by painting him as the Athenian general Alcibiades, a brave soldier, 
 but of dissolute morals. Marston retaliates on Shakespeare in the Malcontent : 
 
THE RETURN FROM PARNASSUS. 15^ 
 
 and Jonson in the Poetaster takes his revenge on both of them. Marston replies 
 again in the Dutch Courtesan, and Shakespeare repays both Jonson and Marston 
 in Othello as well as in Troilns and Cresslda." " Who can doubt that I ago is 
 malignant Ben ? " //W., p. 28. Mr. Fleay says : " Shakespeare s nvel/th Ahght 
 or Wha* You Will, which introduces Malevole (Marston) as Malvoho, and ad- 
 dresses him in an anagrammatic way as M. O. A. I., i.e. Jo. Ma. (John Marston), 
 I take to be his rejoinder to the two plays What You Will and The Malcontent in 
 1601-2." Chronulc of the English Drama, II. 77- "With the locking up of 
 Crispinus ^Poetaster^ in some dark place, compare the imprisonment of Malvoho m 
 Twelfth Night" ibid., I. 369. 
 
XII. 
 
 CONCLUSION. 
 
 In the preceding pages has been set forth the evidence 
 showing that the plays discussed were connected with " The 
 War of the Theatres." That these were the only plays con- 
 cerned in the quarrel is by no means certain. It remains to 
 be proved, however, that other plays were so involved, and in 
 the absence of such proof the discussion has been confined to 
 these fifteen plays. The purpose of the first of the accom- 
 panying tables is to exhibit the relationship of these plays as 
 regards the order in which they were acted, the authors, 
 theatres, and companies. The second table gives in sum- 
 marized form both the proved and the conjectural identifica- 
 tions which have been mentioned in the discussion of indi- 
 vidual plays. 
 
TABLE No. I. — PLAYS. 
 
 In these tables conjectural matter is indicated by Italics. 
 
 Play. 
 
 Date. 
 
 Author. 
 
 Theatre. 
 
 Company. 
 
 Every Man in his Humour 
 
 1598 
 
 Jonson 
 
 Curtain 
 
 Chamberlain's 
 
 The Case is Altered 
 
 1598I 
 
 Jonson 
 
 Blackfriars' 
 
 Chapel children - 
 
 Histriomastix 
 
 1599 
 
 Marston'^ 
 
 Ctirtain 
 
 Derby's * 
 
 Every Man out of his 
 
 1599 
 
 Jonson 
 
 Globe 
 
 Chamberlain's 
 
 Humour 
 
 
 Dekker 
 
 
 
 Patient Grissil 
 
 1600 
 
 Chettle 
 Haughton 
 
 Rose 
 
 Admiral's 
 
 Cynthia's Revels 
 
 1600 
 
 Jonson 
 
 Blackfriars' 
 
 Chapel children 
 
 Antonio and Mellida 
 
 1600 
 
 MarstOn 
 
 Paul's 
 
 Children of Paul's 
 
 Jack Drum's Entertainment 
 
 1600 
 
 Marston 
 
 Paul's 
 
 Children of Paul's 
 
 Antonio's Revenge 
 
 1600 
 
 Marstqn 
 
 Paul's [Children of Paul's 
 
 Poetaster 
 
 1 60 1 
 
 Jonson 
 
 Blackfriars' Chapel children 
 
 Satiromastix 
 
 1601 
 
 Dekker 
 
 Globe (publicly) Chamberlain's 
 Paul's (privately) Children of Paul's 
 
 What You Will 
 
 iboi 
 
 Marston 
 
 Blackfriars'' 
 PatiVs 
 
 Chapel c/iildreji ^ 
 Children of Paul's 
 
 Troilus and Cressida 
 
 160 1 '' 
 
 Shake- 
 speare 
 
 at Cambridge,'' 
 Globe 
 
 Chamberlain's 
 
 The Return from Parnassus 
 
 1601-2 
 
 ? 
 
 at St. John's Col- 
 lege, Cambridge 
 
 University players 
 
 The Spanish Tragedy 
 
 1602 
 
 (Kyd) 
 Jonson 
 
 Fortune 
 
 Admiral's^ 
 
 ' T/ie Case is Altered m?iy have been performed before Every Mati in his Huinojjr, but we can- 
 not prove it to have been. 
 
 2 The Case is Altered " was performed by the children of the Queen's Revels at the Blackfriars'." 
 A History of English Dramatic Literature, A. W. Ward, I. 557. Until 1604 this company was 
 called the Chapel children. 
 
 ^ See above, p. 31. 
 
 ■* See above, p. 33, note 2. 
 
 '' No company or theatre is mentioned on the title-page of the quarto, 1607. Mr. Fleay thinks it 
 was acted by the Chapel boys, and that the date was 1601. Chronicle of tlw English Drama, II. 
 76. Mr. BuUen puts the date " shortly after the appearance of Cynthia's Revels." Marston, I. 
 xlv. Marston"s plays, which immediately preceded What }'ou ll'ill, were performed by the chil- 
 dren of Paul's, and this play may have been performed by the same company. 
 
 " Troilus and Cressida as we have it seems to have been written at several different times, some 
 of it being as late as 1606-7. The play has been discussed as being possibly the " purge " referred 
 to in The Return from Parnassus, a play performed at Cambridge at Christmas, 1601-2 or 1602-3. 
 If it is the " purge," which is at least doubtful, the reference must be to some performance after 
 Poetaster and before The Return fro7n Parnassus. 
 
 ' Chronicle of the English Drama, Fleay, I. 366. 
 
 * See above, p. 99. Henslowe's company was the .Admiral's, and they acted in 1601 at the Fortune 
 Theatre. 
 
TABLE No. II. — CHARACTERS. 
 
 Idetttifications ivhich may he regarded as certain are in Roman type, and those which are doubt- 
 ful or incorrect are in Italics. References are to pages on luhich the identifications are discussed. 
 
 The Scour(;k of Villanie. 
 Torquatus ^ Jonson (pp. 2, 6). 
 
 Every x\Ian in his Humour. 
 
 Master Mathew ^ Daniel (p. 24). Justice Clement = Zj'/y (p. 20). 
 
 George Downright ^ybw.fi';/ (p. 19). Kitely = i'v;-*/ (p. 21). 
 
 Master ?s\.e'^\\.tvi=^ Shakespeare (p. 17). Cash = yV''<:zj//«? (p. 21). 
 
 Wellbred = 6'^«/^?j'/^rt?r (p. 17). Knowell = Chapman (p. 23). 
 
 The Cask is Altered. 
 Antonio Balladino = Monday (p. 37). 
 
 HiSl'RIOMASriX. 
 
 Chrisoganus = Jonson (p. t,-^, Marston (p. 35). 
 
 Posthast = Monday (p. 38), Shakespeare (pp. 34, 42). 
 
 Sir Oliver Owlet's men = Pembroke's company (pp. 42, 1 16), the Chamberlain's 
 eot>ipa7iy (pp. 34, 1 14). 
 
 Every Man out of his Humour. 
 
 Asper-Macilente = Jonson (p. 57). 
 
 Carlo Buffone = Marston (p. 44), Dekker (p. 46, note i). 
 
 fastidious Brisk = Daniel (p. 52), Dekker (p. 46, note i), Lyiy (p. 52, note i). 
 
 Fungoso := Lodge (p. 56). 
 
 Puntarvolo = Monday (pp. 64, 92), LyIy (p. 64, note 2), Sir John Harington 
 (p. 64, note 2). 
 
 Ti€Wxo^= AIo>iday (p. 65, note 1 ; p. 110). 
 
 C\ove ^= Marston (p. 51, note i). 
 
 Orange = /><'/-/^<?r (p. 51, note i). 
 
 Luculento = Drayton (p. 55, note 2), Lord Berkeley (p. 55). 
 
 Sogliardo = a Bnrbadge (p. 61, note 2), Ralph Hogge (p. 63). 
 
 Sordido = (? Biirbadge (p. 61, note 2), Hensloive (p. 62). 
 
 Patient CIrissil. 
 Emulo = Daniel (p. 6g), Jonson (p. 68). 
 Owen = Lord Berkeley (p. 70). 
 
 Cynthia's Revels. 
 C rites = Jonson (pp. 76, 96). 
 
 Anaides = Marston (p. 77), Dekker (p. 46, note i ; p. 79 ; p. 84, note 2). 
 Hedon = Daniel (pp. 76, 81), Marston (p. 84, note 2), Dekker (p. 84, note 2). 
 
CHARACTERS. 
 
 155 
 
 Asotus = Lodge (p. 85), Lyly (p. 150, note 2). 
 
 Amorphus = Monday (pp. 64, 90, note i ; 92), Shakespeare (p. 94, note 2; 
 p. 150, note 2), Lyly (p. 119, note 4), Barnaby Rich (p. 90, note 3). 
 
 Antonio and Mellida. 
 A l'ainter= Jonson (p. 98). 
 
 Jack Drum's Entertainment. 
 Monsieur John fo de King = Jonson (p. 71). 
 Brabant ?>Qmox = Jonsoti (p. 72), Hall (p. 73). 
 Brabant ]\\\\\ox =^ Marston (p. 72). 
 Sir Edward ¥QxivLne = Edward Alleyn (p. 73). 
 M2t.mmon^= Hen si owe (p. 73). 
 Timotiiy Tweedle = Anthony Monday (p. 75). 
 Christopher Flawn = Christopher Beeston (p. 75). 
 John Ellis =/i3//« Lyly (p. 75). 
 '?\z,n&\.^= Shakespeare (p. 75). 
 Pasquil = Nicholas Breton (p. 75), Nashe (p. 75). 
 
 Poetaster. 
 Horace = Jonson (p. 107). 
 
 Crispinus = Marston (p. 107), Dekker (p. 107). 
 Demetrius = Dekker (pp. 79, 113). 
 Tigellius = Daniel (p. 109). 
 Tibullus = Z'</w>/ (p. 108). 
 T)q\\z. = Elizabeth Carey (p. 108). 
 
 0V\6.=^ Donne (p. 108), Shakespeare (p. 108, note 4; p. ii6, note 4). 
 Virgil^ Chapman (p. 109), Shakespeare (p. 109). 
 Albius = Monday (p. no). 
 
 Histrio =;?« actor of Fetn brokers company (p. 116), an actor of the Chamberlain's 
 company (p. 1 16). 
 
 Satiromastix. 
 Horace = Jonson (p. 120). 
 Crispinus= Marston (p. 135). 
 Demetrius = Dekker (p. 120). 
 William Rufus = Shakespeare (p. 119, note 4). 
 Sir Vaughan ap Rees = Lyly (p. 119, note 4). 
 
 What You Will. 
 Quadratus = Jonson (p. 138), Hall (p. 13S, note 2), Marston (p. 139, note 3). 
 Lampatho = Marston (p. 13S). 
 Philomuse = Z>rt«/V/ (p. 137, note 3). 
 
 Troilus and Cressida. 
 K)2iTL^fonson (p. 147), Dekker (p. 148). 
 Achilles =yi7«j^« (p. 148). 
 Thersites =/(w.w;/ (p. 148), Marston (p. 147), Dekker (p. 148). 
 
INDEX 
 
 >;*io 
 
 Achilles, 148. 
 
 Actors, Alentoirs of, 122. 
 
 acute, 91. 
 
 Admiral's company, 33, 68, 70. 
 
 Ainetd, 106. 
 
 /Esop, 115. 
 
 Affaniae, 48. 
 
 Agamemnon, 146. 
 
 Albius, 65, 89, no. 
 
 Alcibiades, 1 50. 
 
 Alleyn, Edward, 73, 74. 
 
 Ambition, 82, 83. 
 
 American Jot{rnal of Philology, 34, 42. 
 
 A mores, 106. 
 
 Amorphus, 39, 63, 64, 76, 80, 8r, 84-96, 
 
 99, 118, 120, 150. 
 Anaides, 39, 46, 50, 76-82, 84, 85, 94, 
 
 96, 99, 109, III, 132, 141. 
 Antiquary, The, 14. 
 Antonio, see Balladino. 
 Antonio and Mellida, i, 4, 74, 97, 98- 
 
 loi, 114, 116, 117, 135, 150. 
 Antonio's Revenge, 98, 114, 116, 117. 
 Apemanthus, 150. 
 Apologetical Dialogue, 2. 
 Apologie for Poetrie, 14. 
 Arber, Edward, 14, 30, 93, 144, 145. 
 Arete, 78, 95, 96. 
 Argurion, 87, 88, 96. 
 ARiosTO(tr. : Harington), 64. 
 Aristius, no. 
 Armin, Robert, 137. 
 anide, 91. 
 Ars Poetica, 10. 
 
 As Vou Like It, 150. 
 
 Asinius Bubo, 1 19-122, 124, 126, 128, 
 
 129, 131. 
 Asinius Lupus, 1 19. 
 Asotus, 18, 19. 76, 82, 85-90, 92, 93, 
 
 150. 
 Asper, 19, 20, 57, 125. 
 Astraea, 33. 
 
 Astrophcl and Stella, 25. 
 Athenceum, The, 7, 8. 
 Atkins, W. H., 63. 
 At the Author\<: Going into Italy, 84. 
 Atticus, 137. 
 Augustus Cjesak, 104, 106, 116. 
 
 Babulo, 70. 
 
 Balladino, Antonio, 37, 3S, 91, 94. 
 
 barbarous, 82. 
 
 Baudissin, Wolf, Graf von, 16. 
 
 belch, 36, 37. 
 
 Belvedere, or the Garden of the Muses, 
 
 144. 
 Ben Jonson''s Quarrel with Shakespeare, 
 
 148, 150. 
 Ben fonson und seine Schule, 16. 
 Berkeley, Lord and Lady. 55, 70. 
 Biancha, 14. 
 
 Bibliographers' Manual, 93. 
 Biographical Chronicle of the English 
 
 Drama, see Fleay. 
 Birde, William, 99. 
 Blirt, 137. 
 
 Boar's Head Tavern, 63. 
 Bobadil, 14, 22, 25, 59-61, iio. 
 
158 
 
 INDEX. 
 
 Bobadilla, 14. 
 
 Booke of the Seven Planets, 1 18. 
 
 Brabant Junior, 72-74. 
 
 Brabant Senior, 71-74. 
 
 Brainworm, 14, 18, 22, 25, 60. 
 
 breeches, Pythagoricall, 120. 
 
 Breton, Nicholas, 75. 
 
 Bridget, 14, 25, 27. 
 
 Brisk, Fastidious, i8, 44, 48-59, 65, 69, 
 
 70, 81, 82, 84, 91. 
 browne Ruscus, 4, 12. 
 Bubo, see Asinius. 
 Buffone, Carlo, 12, 44-53, 55, 56, 58, 
 
 61, 64, 68, 77-80, 94, 98, 125, 141 
 BuLLEN, A. H., 3-5, 7, 9, 12, 73, 85, 99, 
 
 138. 139- 
 BuRBADGE, Richard, 61, 145. 
 
 Cassar, see Augustus. 
 
 CcEsar and Fompey, 143. 
 
 Camden Society Publications, 120. 
 
 capreal, 51. 
 
 capricious, 69. 
 
 Carey, Elizabeth, 52, 55, 70, 108. 
 
 Carey, George, 52. 
 
 Carlo, see Buffone. 
 
 Cartwright, Robert, 17, 20, 21. 47, 
 
 64, 85, 108, 120, 148, 150. 
 Case is Altered, The, i, 31-43, 51, 58, 
 
 91, 92, 94, 95, 106. 
 Cash, Thomas, 14, 21, 25. 
 Cato Utican, 143. 
 Chamberlain's company, 2)3^ 34, 42, 44, 
 
 61, 63, 77, 105, 114, 115, 119, 143, 
 
 147, 149. 
 Chapel children, 77,99, 102, 119, 133, 
 
 149. 
 Chapman, George, 14, 23, 28, 50, 74, 
 
 105, 109, 118. 
 Chester, Robert, 118. 
 Chettle, Henry, 42, 46, 62, 68, 70, 
 
 74. 146. 
 Children of Paul's, 114, 115. 
 chirall, 138. 
 
 chival, 138. 
 
 Chloe, 65, 89, no. III. 
 
 Chrisoganus, 31-34, loi. 
 
 Chronicle of the English Drama, see 
 
 Fleay. 
 Cicero, 6. 
 Cinedo, 48. 
 circumference, 51. 
 Citizen and his wife, 65, 77. 
 Civill Warres, 24. 
 Clement, 14, 20, 21, 28, 29. 
 Clout, 36. 
 
 Clove, 31, 50, 51, 69, 71, 118. 
 Cob, 14, 20, 22, 25. 
 Colin Clout, 24. 
 
 Collectanea Anglo-Poetica, 4, 48. 
 Collier, J. P., 14, 68, 99, 122, 146. 
 Commejitaries on American Law, 105. 
 Comodey of Umers, 14. 
 Complaint of Rosamond, 53. 
 compliment, 69. 
 connive, 126. 
 Constable, Henry, 30. 
 contemplation, 51. 
 Conversations with Drummond, Ben 
 
 fonson's, see Drummond. 
 Cordatus, 44, 45, 57, 65. 
 CoRSER, Rev. Thomas, 4, 48. 
 Cos, 85. 
 
 Coxcomb, The, 50. 
 Criminal Law of England, History of 
 
 the, 105. 
 Crispinus, ii, 35, 46, 71, 80, 106, 107, 
 
 109, 110-119, 121-123, 125, 126, 129, 
 
 ■30, 133. 135' 136, 138, 151- 
 Crites, 19, 76-79, 81, 83, 88, 89, 95-97, 
 
 125, 140, 141, 147. 
 Criticus, ig, 20, 125. 
 Cumberland, Anne, Countess of, 
 
 54. 55- 
 Cumberland, Margaret, Countess 
 
 OF, 54. 
 Cunningham, Peter, 21. 
 Curtain theatre, 149. 
 
INDEX. 
 
 159 
 
 Cutpurse, Moll, 12. 
 
 Cynthia s Revels, i, 5, 9, 18, 19, 39, 46, 
 50, 63-65, 74, 76-97, 99-101, 1 10, I II, 
 115, 117, 118, 120, 125-128, 130-132, 
 134, 136, 140, 141, 147, 150- 
 
 Daniel. John, 109. 
 
 Daniel, Samuel, praise of, by Mar- 
 ston, one of the causes of the " War," 
 6 ; reason suggested for Jonson's 
 hostility towards, 13, 24, 82, 96; sat- 
 irized by Jonson, as Mathevv, Brisk, 
 and Hedon (q-v.), 19; poetry of, 
 satirized by Jonson, Davies, and, 
 according to Fleay, by Shakespeare, 
 24-3O' S3» 54 ; as Emulo (q.v.), 51 ; 
 facts in the life of, 54, 82; intimates 
 in Delia that he has been wronged, 
 
 55 ; imitated and praised by Lodge, 
 
 56 ; as Musus, 74; called a "poet in 
 the court account " by Jonson, 82 ; 
 plagiarism of, 83 ; referred to in 
 Envy prologue to Poetaster, 84 ; not 
 Ovid or Tibullus, 108; possibly Her- 
 mogenes Tigellius, 109 ; relation of 
 John Daniel to. 109: as Philemon, 
 
 '37- 
 Daniel, Works of Samuel (ed. Grosart), 
 
 83- 
 
 Davies, Sir John, 54, 74, 89, 109. 
 
 Davies, Poems of Sir John, 54, 75, 89. 
 
 Decius, 74. 
 
 Defence of Contraries, The. 92. 
 
 De Finibus, 6. 
 
 Deformed, one, 94. 
 
 Dekker, Thomas, quarrel of, with 
 Jonson, I ; reference to the Troilus 
 and Cressida of, and Chettle, 42, 146; 
 not Carlo Buffone or Anaides, 46, 
 79, 84, 85; not Orange, 51 ; connec- 
 tion of, with the " War," 46, 51, 67, 
 68, 70, 107, 113, 120; not Fastidious 
 Brisk, 47 ; " hired " to attack Jonson 
 in Satiromastix, 67, 105, 114, iig. 
 
 148; first satirized by Jonson as 
 Demetrius (q.v.), 67 ; participation 
 of, in Patient Grissil, 68, 70 ; collab- 
 orates with Jonson, 68 ; Giils Horne- 
 booke of, quoted, 69, 1 11 ; appro- 
 priates to himself lines of Jonson 
 which referred to others, 80 ; not 
 Hedon, 85; possibly referred to in 
 the phrase " these libels " in Poet- 
 aster, 103; possibly one of the "bet- 
 ter natures" referred to in Poetaster, 
 105; not Crispinus, 107; refers to 
 Jonson's allusions to Marston in 
 Poetaster, 11 1 ; parodies Jonson's 
 pun on Crispinus, it2; a rapid 
 writer and a " dresser of plays," 114, 
 119, 121; boast of, concerning the 
 Seven Deadly Sins, 114; at work 
 upon a play upon the story of Sir 
 Walter Terill, 119; probably had a 
 real admiration of Jonson, 1 20 : 
 offended by the reference to the 
 " Moor," 133 ; shows magnanimity in 
 his attitude towards Jonson, 134; 
 not Ajax, 148; not Thersites, 148. 
 
 Dekker, Works of Thomas (Grosart), 
 70, 112; (Pearson), 22, 76, 80, 112. 
 
 Delia, 24, 29, 30, 53, 56, 70,82-84, loS. 
 
 Deliro, 49, 55, 56, 58, 59, 64, 65, 89, no. 
 
 Delphicke, 4, 5, 8-10, 50. 
 
 Demetrius, 46, 68, 76, 79, 80, 105-108, 
 1 10, 113, 114, 116-118; (in Satiro- 
 mastix), 119-121, 127, 129, 130, 133, 
 136. 
 
 demonstrate, 51. 
 
 Derby's company, 33, 42. 
 
 Desmond, Ode to, 10. 
 
 detraction, 79, 80. 
 
 Diary, see Henslowe, Manningham. 
 
 Dicace, 123. 
 
 Dictionary of National Biography, 21, 
 52, 55, 62, 85, 86, 88, 92. 
 
 die-note, long, 84, 93. 
 
 Diogenicall, 51. 
 
i6o 
 
 INDEX. 
 
 Discourse of English Poetrie, 93. 
 
 Discourse of Poesie (Jonson), 24. 
 
 UoDSLEY, Robert, Old Englis/i Plays, 
 100. 
 
 Dogberry, 94. 
 
 Dominical letter, 144. 
 
 Donne, John, 10.S. 
 
 Doricus, 137. 
 
 Downright, George, 14, 18, 19, 23, 24, 
 26, 28, 29, 60. 
 
 DowNTON, Thomas, 146. 
 
 Drake, Nathan, 107. 
 
 Dramatic Literature, A History of Eng- 
 lish, 109, 138, 145. 
 
 Dramatick Poets, English, 31, 107. 
 
 Drayton, Michael, 56, 74, 89, no, 
 118. 
 
 Drummone of Hawthornden, Wil- 
 liam, 2,6-8, 10, 12, 24, 35, 39, 40, 
 41, 71, 72, 79, 82, 102, 105, 107, 1 13, 
 123, 141, 142, 147. 
 
 duel, Jonson's, 7, 8, 68, 71, 122, 124, 
 14 J. 
 
 Dutch Courtezan, 151. 
 
 Dyce, Alexander, 16. 
 
 Early London Theatres, 105. 
 
 Eastward Ho, 105, 118. 
 
 Echo, 131. 
 
 ecliptic, 51. 
 
 Elizabeth, Queen, 31, t,t„ 53, 87. 
 
 Ellis, John, 75. 
 
 eloquence, dumb, 53, 54. 
 
 Emulo, 51, 55, 68-70, 121. 
 
 Endimion and Phoebe, 74. 
 
 English Dramatic Literature, A History 
 
 of, 109, 138, 145. 
 English Dramatick Poets, 31, 107. 
 English Poets and Poesy, 24, 38. 
 English Romayne Life, The, 92. 
 Envy, 84, 134. 
 
 Epigrammata (Martial), 103, 106. 
 Epigrams, 59, in ; (Jonson), 120, 133, 
 
 '34- 
 
 Epistle to Elizabeth, Countess of Rut- 
 land, 82. 
 
 Epithalamiums, Jonson's, 120, 143. 
 
 epithets, new-minted, 4-1 1, 32, 50, 51, 
 91, 117. 
 
 Euphues and his England, 20. 
 
 Every Man in His Humour, 1,9, 13- 
 30. 34. 35' 38> 44. 53- S8. 60, 61, 77, 
 79, 108, 115, 125, 149, 150. 
 
 Every Man Out of His Humour, i, 5, 
 9, 18-20, 22, 25, 32, 34, 35, 38-40, 
 44-66, 69, 70, 71, 73, 76-78,80,82, 
 85,89,90-94,98, 100, 108-110, 112, 
 
 115, 118, 119, 125, 126, 134, 141, 149, 
 150. 
 
 Faery Queefi, 22. 
 
 Fallace, 55, 59, 65, 89, no. 
 
 Fantasy of the passion of ye fox, 9. 
 
 Farneze, 69, 106. 
 
 fastidious, 69, 70. 
 
 fatuate, 117. 
 
 Faustus, 16. 
 
 Fig for Momus, A, 47, 56, 57, 89. 
 
 fist, late perfumed, 3, 8. 
 
 Fitzgeffrey, Charles, 48. 
 
 Flawn, Christopher, 75. 
 
 Fleay, F. G. {Chronicle of the English 
 Drama), 5-7, 14, 21, 32, 33, 40-43, 46, 
 53-56, 61, 64, 65, 69, 70, 73, 75, 79, 
 83, 89, 90, 94, 99, 100, 103, 108-110, 
 
 116, 117, 127, 133, 137, 143, 145, 147, 
 148, 151 ; {History of the Stage), 42, 
 116; {Life of Shakespeare), 147; 
 {Shakespeare Manual), 61, 67, 112. 
 
 Fletcher, John, 50. 
 
 Ford, John, 21. 
 
 Formal, 14. 
 
 Fortuttatus, 33. 
 
 Fortune, Sir Edward, 73. 
 
 Fortune Theatre, 73, 116. 
 
 Fugitive Tracts, 10. 
 
 Fungoso, 18, 19, 55, 56, 65, 85, 87, 89, 
 
 108. 
 furibund, 117. 
 
INDEX. 
 
 i6r 
 
 FURNIVALL, F. J., lO. 
 
 Fuscus, no. 
 
 fustian, 50, 69, 71, gr, 118, 138, (cf. 11, 
 30- 
 
 gallimaufry of language, 68, 69. 
 
 Gallus, 109. 
 
 games in Cynthia's Revels, 77, 80, 95. 
 
 Gascoigne, George, 47. 
 
 Gellius, Aulus, no. 
 
 Genealogist, The, 62. 
 
 GeronyfHo, 99. 
 
 GiFFORD, William, 4, 8, 14, 22, 66, 
 
 107, 109, iir, n6, 126, 149. 
 Giulliano, 14. 
 
 Globe Theatre, 11 4- 11 6, 149. 
 Golde, 89. 
 GossE, E. W., 56. 
 GossoxN, Stephen, 87. 
 Greene, Robert, 16, 94. 
 Grosart, a. B., 4, 5, II, 12, 16, 20, 24, 
 
 38, 54, 70, 75, 83, 89, 99, 108, 109, 
 
 112, 113. 
 Gulch, 36. 
 Guls Horne-booke, 69, 1 1 1 . 
 
 Hake, Edward, 47. 
 Hall, Joseph, 3, 4, 20, 21, 47, 48, -jz- 
 74, 138- 
 
 HaLLIWELL-PHILLIPPS, J. O., 4, 7, II. 
 
 71, 93, 100, 106. 
 Hamlet, 150. 
 hang, 142. 
 
 Hannam, Horace, 22. 
 Harleian Miscellany, 92. 
 Harington, Sir John, 64, 89. 
 Haslewood, Joseph, 24, 38. 
 Haughton, William, 68. 
 Have with you to Saffron Waldcn, 20. 
 Haywood, John, 89. 
 Hazlitt, W. C., 14, 100. 
 healths drunk kneehng, 50, 77, 78. 
 Hedon, 18, 76-85, 87, 91, 93, 96, 99, 
 
 109. 
 
 Henry IV., 42. 
 
 Henry V., 16, 42. 
 
 Henry VI., 16. 
 
 Henslowe, Philip, 14, 33, 37, 46, 56, 
 
 62, 63, 68, 73, 99, 100, 114, 146. 
 Henslowe, Philip, 62. 
 Herbert, William, 54. 
 Herford, C. H., 23, 84, 85, 109. 
 Hermogenes, see Tigellius. 
 Hero and Leander, 28. 
 Hesperida, 14, 53. 
 Hieronimo, 99, 123, 124. 
 History of English Dramatic Literature, 
 
 A, 109, 138, 145. 
 History of the Stage, 42, 116. 
 
 Histrio, 31-43, 105, no, ni, 1 14-116, 
 147. 
 
 Histriomastix, \, 13, 31-44, 50, 51, 71, 
 94, 115, 146, 147- 
 
 Hogge, Ralph, 63. 
 
 Honour, 82. 
 
 Horace, 10, 102, 106, no. 
 
 Horace, 19, 20, 22, 35, 68, 79, 104-107, 
 109-114, 116-118. 119; (Satiromas- 
 tix), 1 19-136. 
 
 Htie and Cry after Cupid, The, 1 20. 
 
 humorous, 125. 
 
 Httmorous Day's Mirth, A, 14. 
 
 humours, 125. 
 
 Hutiteriait Club Reprint, 87, 89. 
 
 HuTH, Henry, 10. 
 
 Hymen, The Masque of, 120. 
 
 Idea, 74. 
 
 If I freely may discover, 106. 
 
 Immerito, 145. 
 
 In Dacum, 54. 
 
 In Decium, 75. 
 
 inflate, 117. 
 
 In Galium, 109. 
 
 ingenious, 9. 
 
 ingenuity, 51. 
 
 Ingleby, C. M., 62. 
 
 In Haywodum, 89. 
 
l62 
 
 INDEX. 
 
 intellectual, 51. 
 
 intrinsecate, 4, 5, 8-10, 50, 91. 
 
 Irish Rebellion, 145. 
 
 Italy, travels of Daniel and Monday in, 
 
 Jack Drum's Sntertatnnieiit, i, 40, 41, 
 ^7y 7^-7Sy 7^y ii4> 116, 117. 
 
 Jeronimo, 22. 
 
 JoNSON, Benjamin, quarrel with Mar- 
 ston, I, 2, 4, 31, 32, 39, 45, 67, 71, 72, 
 113, 141, 144, 146; with Dekker, i, 
 2, 4 ; as Torquatus (q-v.), 2 ; accused 
 of " venerie," 2, 4, 40, 78 ; use of 
 "new-minted epithets" by, 4-1 1, 32, 
 50, 51, 91, 117, 143; opima spolia 
 taken by, 7, 123 ; duel and trial of, 
 7, 8, 68, 71, 122, 124, 142; "neck- 
 verse" of, 7, 121, 122; branded, 7, 
 8; translation of Ars Poetica by, 10; 
 ridicules Marston's diction, 11, 31, 
 32, 50, 67, 71, 91, 98, 117, 148 ; ad- 
 miration of, for " Somerset," 1 1 ; dis- 
 like of, for Daniel, 13, 24, 82, 96; 
 relations of, with Henslowe, 14, 99; 
 views of, on the function of dramatic 
 representation, 17 ; not Knowell, 17 ; 
 not Downright, 19 ; as Asper, Crites, 
 and Horace (q.v.), 19 ; career of, not 
 alluded to in Brainworm, 22 ; rela- 
 tions of, with his step-father possibly 
 shadowed forth in Every Man in His 
 Humour, 23 ; no friend of Daniel's 
 verse, 24-30, 53, 54; as Chrisoganus 
 (q.v.), 31-44 ; allusions of, to his 
 poverty, 35, 107 ; his arrogance, 35, 
 107, 135; his translations, 35; shows 
 Marston how to write, 39 ; as John 
 fo de King, 40, 41, 71 ; and Dekker, 
 46, 67, 68 ; as Macilente (q.v.), 57 ; 
 shabby clothes of, 58, 77, 96, 129, 
 142; "rocky face" and "mountain 
 belly" of, 59, 123, 142; characters 
 of, usually persons, 66; not Emulo, 
 
 68, 69; collaborates with Dekker, 
 68; possible reference to duel and 
 bricklaying of, 68, 120, 121 ; sug- 
 gested identification of Brabant Sen- 
 ior with, 72 ; allusions to the scholar- 
 ship of, 77, 96, 129, 141 ; pedantry of, 
 81 ; and Monday, 81, 92 ; and Lodge, 
 88; makes use of quarrel of Marston 
 and Monday, 94, 96 ; finds it diffi- 
 cult to get money on his works, 96 ; 
 scene of Marston's suggests a scene 
 to, 98, loi ; as " a Painter," 98; the 
 word " limn " of, ridiculed by Mar- 
 ston, 99; on a more friendly footing 
 with Marston, 100, 118, 137, 147; 
 ridicules soldiers and lawyers and is 
 brought before the Lord Chief Jus- 
 tice, 102, 108, 132, 134; personal 
 attacks in the early comedies of, 102 ; 
 refers to "libels" upon him, 103; 
 legal difficulties of, because of his 
 plays, 105; learning of, shown in 
 Poetaster, 106; and Shakespeare, 
 108, 109, 116, 144; possibly Davies's 
 Gallus, 109; references of, to Mar- 
 ston in the Epigrams, ill; ridicules 
 Marston's coat of arms, 112; calls 
 Dekker a "dresser of plays," 114, 
 119, 121; exonerates Marston from 
 having had a share in Satiromastix, 
 114 ; last attack of, on Marston, 116; 
 end of "War" for, 118; joins with 
 Marston in writing plays, 118; Mal- 
 ftfw/'ifw/ dedicated to, 118; Dekker's 
 admiration for the really good quali- 
 ties of, 1 20 ; references in the Satiro- 
 tnastix to the Epigrams and Epitha- 
 lamiums of, 120; career of, as an 
 actor referred to in Satiromastix, 123; 
 religion of, referred to, 124, 141 ; rela- 
 tion of the plays of, to the times, 
 125; slowness of, in writing his plays, 
 130 ; suggested identification of, with 
 Malevole, 137 ; possibly the "envious 
 
INDEX. 
 
 163 
 
 hand" in IV/iat You Will, 138; as 
 Quadratus (q-v.), 138; suggested 
 identification of, with Lampatho, 1 39 ; 
 plays the astrologer, 142; Marston, 
 Shakespeare, and, reconciled, 147 ; 
 suggested identification of, with Ajax 
 (q.v.), 147 ; personal traits of, pos- 
 sibly referred to, 147 ; suggested iden- 
 tification of, with Achilles and Ther- 
 sites (q.v.), 148 ; a " pestilent fellow," 
 148 ; suggested identification of, with 
 Apemanthus (q.v.), 150; Cartwright's 
 view of the connection of, with the 
 " War," 150; suggested identification 
 of, with lago, 151. 
 
 Jonson, Essay on the Life and Dramatic 
 Writings of Ben, 16. 
 
 Jonson, Notes on theConversations of Ben, 
 see Drummond. 
 
 Jonson'' s Quarrel with Shakespeare, 148, 
 150. 
 
 Jonson 21 nd seine Schnle, Ben, 16. 
 
 Jonson, Mermaid edition of Ben, 23, 51, 
 84, 109, 150. 
 
 Jonson, Works of Ben (Gifford), 4, 8, 
 22, 107, 109; (Whalley), 104. 
 
 Julia, 108, 116. 
 
 JuvF.NAL, 4, 106. 
 
 Kempe, 145. 
 
 Kent, James, 105. 
 
 Kind Hartes Dreame, 62. 
 
 King, John fo de, 40, 41, 71, 72. 
 
 King Lear, 16. 
 
 Kinsayder, Don, 139, 140. 
 
 " Kinsayder, W.," 4. 
 
 Kiss, The, 84, 93. 
 
 Kitely, 14, 21, 23, 25. 
 
 Kitely, Dame, 14, 27. 
 
 Knowell, 14, 18, 22, 23, 25, 30. 
 
 Knowell, Edward, 14, 17, 18, 20, 23, 25- 
 
 27, 30, loS. 
 Kyd, Thomas, 99. 
 
 Lakerius Decimus, lie. 
 
 Laing, David, see Drummond. 
 
 Lamberton, W. a., 10. 
 
 Lampatho, 138-142. 
 
 Lancaster, 15, 16. 
 
 Landulpho, 43. 
 
 Langbaine, William, 31, 107. 
 
 Lascivious Knight and Lady Nature, 
 The, 42. 
 
 Laureo, 70. 
 
 law and lawyers, Jonson's attack on, 
 102, 108, 132, 134. 
 
 Laverdure, 142. 
 
 Lee, Sidney, 52, 88. 
 
 Legend of Robert, Duke of Normandy, 
 1 10. 
 
 Lenten Stuffe, 38. 
 
 letter, Dominical, 144. 
 
 Lexiphanes, 106, 117. 
 
 libel and slander, laws regarding, 105. 
 
 libels, 103, 105. 
 
 Life atid Death of Captain Thomas 
 Stukeley, The, 16, 133. 
 
 limn, 98. 
 
 Locrine, 16. 
 
 Lodge, Memoir of Thomas (Gosse), 56. 
 
 Lodge, Thomas (Lee), 88. 
 
 Lodge, Sir Thomas, 85-87. 
 
 Lodge, Sir Thomas (Welch), 86. 
 
 Lodge, Thomas, as Asotus and Fun- 
 goso (q.v.), 19 ; Daniel popular with, 
 and other critics, 24 ; "censured " in 
 Every Man in His Hiwiotir, 30 ; a 
 satirist before Hall, 47 ; fled beyond 
 seas from his tailor, 56 ; imitates and 
 praises Daniel, 57 ; referred to in 
 Satiromastix, 76 ; the father of, 85- 
 87 ; the fortunes of, referred to in 
 Cynthia's Revels, 87 ; a physician, 88; 
 personal appearance described, 88; 
 a Jack-of-all-trades, 88 ; The Defence 
 of Contraries attributed to, 93. 
 
 Lodge, Works of Thomas (Hunterian 
 Club), 56. 
 
164 
 
 INDEX. 
 
 London Past and Present, 21. 
 
 Londo7i Prodigal, The, 59. 
 
 Looking Glass for London and England, 
 
 A, 16. 
 Lorenzo Junior, 9, 14. 
 Lorenzo Senior, 14. 
 Love's Martyr, 118. 
 Lowndes, W. T., 93. 
 LoYu, W. H., 105. 
 
 LUCIAN, 106. 
 
 Luculento, 55, 70. 
 
 Lyly, John, 20, 21, 23, 52, 64, 75, 120, 
 150. 
 
 Macbeth, 16. 
 
 Macilente, 25, 39, 45, 48-51- 53-55- 57- 
 59, 62, 64, 65, 93, loi, 103. 
 
 Maiiomet, 133. 
 
 Malcontent, 137, 150, 151. 
 
 Malevole, 137, 151. 
 
 Malvolio, 151. 
 
 Mammon, 72-74. 
 
 Manningham, John, 120. 
 
 Manlius, Titus, 6-S. 
 
 Marlowe, Christopher, 12, 28. 
 
 Marston, John, satires of, 1-12, 47, 
 48; quarrel of, with Jonson, i, 2, 
 4, 31. 32, 39.45.67. 68, 71, 72, 113, 
 147; accuses Jonson of " venerie," 
 24, 40, 78 ; ridicules Jonson's " new- 
 minted epithets," 4-1 1, 32, 50, 51, 91 
 -117, 143; diction of, ridiculed by 
 Jonson, II, 31, 32, 50, 69, 71, 91, 98, 
 117, 148; relation of, to the author- 
 ship of Histriomastix, 31, 32 ; repre- 
 sents Jonson possibly as Chrisoga- 
 nus, 31-33 ; possibly himself Chris- 
 oganus, 34, 35 ; and Monday, 38, 39, 
 94, 96 ; as Carlo and as Anaides 
 (q.v.), 39; shown by Jonson how to 
 write, 39 ; as the "Grand Scourge or 
 Second Untruss," 46, 48, 64, 105, 
 114, 117, 118; a gentleman by birth, 
 49, III, 112; not Clove (q.v.), 51; 
 
 the author oi Jack Drum's Entertain- 
 ment, 71 ; probably represented Jon- 
 son as John fo de King, 71 ; as Mel- 
 lidus, 74 ; as Crispinus (q-v.), 80; 
 frequent use of the word " guts " by, 
 81 ; assumed wrongly to be Hedon, 
 84, 85 ; ridicules Jonson's word 
 "limn," 98; suggestion that a scene 
 of Jonson's was parodied by, 99; 
 age of, when matriculated at Oxford, 
 99 ; on better terms with Jonson, 
 100, 118, 137, 147, 148; in difficulties 
 because of Eastward Ho, 105, 118; 
 and the study of the law, 108; hair 
 of, ridiculed, 1 1 1 ; Dekker refers to 
 Jonson's allusions to, in Poetaster, 
 III; gentle birth of, referred to, iii, 
 112; coat of arms of, ridiculed, 112, 
 113; exonerated by Jonson from 
 having had a share in Satirotnastix, 
 114 ; last attack of Jonson on, 116; 
 joins with Jonson in writing plays 
 and dedicates Malcontent to him, 118, 
 138; Satironiastix ■vixiiten at the in- 
 stigation of, and of others, 119; re- 
 sented being called a "gentleman 
 parcel-poet," 131 ; as Lampatho, 138; 
 suggested identification of, with 
 Quadratus, 139; reference in Troi- 
 lus to, 147 ; reconciliation of Jonson, 
 Shakespeare, and, 147 ; as Thersites, 
 148 ; connection of, with the " War," 
 according to Cartwright, 150. 
 
 Marston, Poems of John (Grosart), 4, 5, 
 II, 12, 108, 113. 
 
 Marston, Works of John (Halliwell- 
 Phillipps), 4, 7, II ; (BuUen), 4, 5, 7, 
 9, 12,73,85,99, 138, 139. 
 
 Martial, 103, 106. 
 
 Martin, 21. 
 
 Martin Marp relate controversy, 21, 105. 
 
 Martin, Richard, 102. 
 
 mathematical, 51. 
 
 Matheo, 14, 29. 
 
INDEX. 
 
 165 
 
 Mathew, 14, 18, 19, 20, 23, 24, 25-30, 
 44, 79, 81, 83. 
 
 Mavortius, 34, 36. 
 
 May Day, 50. 
 
 Mellidus, 74. 
 
 Mem 017-5 of Actors, 122. 
 
 Mercury, 77, 86, 91, 95, 97. 
 
 Meres, Francis, 24, 38. 
 
 Merry Wives of Windsor, 42. 
 
 Metamorphosis of Ajax, 89. 
 
 Metamorphosis of Figmalioit's Image 
 and Certaine Satyres, 5, 12, 47, 116. 
 
 Metheglin, 120. 
 
 Mew, 137. 
 
 MiDDLETON, Thomas, 137. 
 
 Miniver, 123. 
 
 Minos, no, 133. 
 
 Misprision, 69. 
 
 Mitis, 50, 57, 65, 66. 
 
 Momus, 145. 
 
 Monday, Anthony, as Antonio Balla- 
 dino (q.v.), 37 ; pageant poet, 38, 81, 
 94, 95 ; probably Posthast (q.v.), 39 ; 
 as Puntarvolo and Amorphus (q.v.), 
 39; a "gentleman scholar," 43; 
 hissed off the stage for his singing, 
 43; as Deliro (q.v.), 6^ ; suggested 
 identification of Timothy Tweedle 
 with, 75; relation of, to Marston, 
 Daniel, and Lodge, 76 ; translations 
 of, 90; uses "stale stuff," 91, 95; 
 travels of, 92 ; The Defence of Con- 
 traries of, 92; songs of, 93, 94; and 
 Marston, 94 ; reason for Jonson's 
 satire of, 96; as Albius (q.v.), no. 
 
 Montague, Anthony, Viscount, 62. 
 
 Moor, the, 133. 
 
 Moore, Anne, 108. 
 
 Moria, 80, in, 126. 
 
 Morphides, 1 18. 
 
 Morus, 87. 
 
 Mucedoriis, 16, lOr, 138. 
 
 Much Ado About Nothing, 94, i 50. 
 
 Musco, 14, 28. 
 
 Musophilus, 137. 
 
 Musus, 74. 
 
 My Picture left in Scotland, 59, 123. 
 
 Myrmidon, the great, 148. 
 
 Nashe, Thomas, 20, 21, 24, 38, 53, 75, 
 
 94. MS- 
 Nashe, Works of Thomas (Grosart), 24. 
 Nasutus, 103. 
 National Biography, Dictionary of, see 
 
 Dictionary, 
 natures, better, 104. 
 neck-verse, 7, 121, 122. 
 Newes out of Paules Churchyarde, 47. 
 new-minted epithets, 4-11, 30, 50, 51, 
 
 91, 117, 143. 
 Nicholson, Brinsley, i, 12, 14, 23, 
 
 51, 71, 84, 112, 113, 150. 
 North British Review, The, 69, 94, 137, 
 
 148-150. 
 Notes and Queries, 10, 71, 113. 
 Nottingham, Earl of, 68. 
 oblatrant, 117. 
 obstupefact, 117. 
 Ode to Desmond, 10. 
 Of his Lady^s not cot?iing to London, 1 18. 
 O happy golden age I, 30. 
 Old Etiglish Plays, 1 00. 
 Old Fortunatiis, 67, 68. 
 Onion, 37, 106. 
 optic, 91. 
 
 Orange, 31, 50, 51, 71. 
 Ordish, T. F., 106. 
 Oseas, 16. 
 
 Ostend, siege of, 145. 
 O tears, tto tears, 25. 
 Othello, 151. 
 
 Outlines of the Life of Shakespeare, 1 06. 
 Ovid, 103, 104, 106, 121. 
 Ovid Junior, 23, 104, 108, 116. 
 Ovid Senior, 23. 
 Owen, 55, 68, 70. 
 Owlet's Company, Sir Oliver, 33, 34, 
 
 42, 115, 116. 
 
1 66 
 
 INDEX. 
 
 Page, the, 144. 
 
 "pagge of plimothe," 68. 
 
 Palinode, the, 126. 
 
 Palladis Tamia, 24, 38. 
 
 Palmer, Sir Henry, 87. 
 
 Parasitaster, 137. 
 
 parcel-poet, iii, 131. 
 
 Pasquil, 73, 75. 
 
 Patient Grissil, i, 16, 51, 56, 67-70. 
 
 PaVIER, T., 100. 
 
 Peele, George, 32. 
 
 Peele, IFor/es of George (Dyce), 16. 
 
 Pembroke, Mary, Countess of, 54, 55. 
 
 Pembroke's company, 92, 116. 
 
 Perry, G. G., 21. 
 
 Persius, 4. 
 
 Peto, 14. 
 
 Phantaste, 88, 90. 
 
 Philarchus, 34. 
 
 Philargyrus, 85, 86. 
 
 Philautia, 81,82, 83, 88, 91. 
 
 Phi I lis, 24. 
 
 Phillis Honotired zciith Pastoral Sonnets, 
 
 56, 87. 
 Philomuse, 137. 
 Piers Pennilesse, 24. 
 pill, emetic, 11, 106, 117, 136, 145, 147. 
 Pizo, 14. 
 Planet, 73-75. 
 Playwright, epigrams of Jonson on, 1 1 1 , 
 
 120. 
 Plays Con/itted in Five Actions, 87. 
 Plays, Dictionary of Old, 100. 
 Plays, Old English, 100. 
 Poet-Ape, &^\%x2L'm% of Jonson on, 120, 
 
 133. 134- 
 Poetaster, i, 2, 4, 11, 22, 35, 39, 46, 65, 
 
 67, 68, 71, 79, 84, 89, 91, 98, 100- 
 
 123, 125, 126, 128-134, 136, 137, 145, 
 
 148, 150, 151. 
 polite, 91. 
 
 Political Use of the Stage, The, 94. 
 Polyposus, 103, 105. 
 pommado, 11, 82. 
 
 Posthast, 34, 37, 38, 41-43, 94. 
 
 Practise (Saviolo), 90. 
 
 Privy Council, Register of the, 105. 
 
 Prodigal Child, The, 32, 42. 
 
 projects, 69. 
 
 Prologue, armed, 147. 
 
 Promos and Cassandra, 14. 
 
 prorumped, 117. 
 
 Prosaites, 85, 86. 
 
 Prospero, 14, 29. 
 
 Puntarvolo, 39, 46, 48-50, 80, 90, 92, 94. 
 
 purge, 104, 145-150. 
 
 Pyrgi, the, no, 115, 116, 123, 133, 147. 
 
 Pythagoran, 51. 
 
 Pythagorical, 51, 91. 
 
 Pythagoricall breeches, 1 20. 
 
 Quadratus, 138-143. 
 Quintilian, Sir, 123. 
 
 Racster, John, 118. 
 
 Ramnusia's whippe, 35. 
 
 Rankins, William, 47. 
 
 reall, 4, 5, 8-ic, 50, 143. 
 
 Rebellion, Irish, 145. 
 
 reciprocal, 91, 118. 
 
 reciprocally, 91. 
 
 Register of the Privy Co7tncil, 105. 
 
 Rendle, William, 62. 
 
 retrograde, 91, 117, 118. 
 
 Return from Parnassus, The, i, 30, 90, 
 
 104, 144-151- 
 rhetoric, sweet silent, 53, 54. 
 Rich, Barnaby, 64, 90. 
 Richard Crookback, 37, 99. 
 Robart the second, Kinge of Scottes Trag- 
 
 edie, 68. 
 Robert, Duke of Normattdy, Legend of, 
 
 1 10. 
 Roderick, Sir, 144. 
 Romeo and fulict, 116. 
 Rosalind'' s Co7nplaint, 148. 
 Rosamond, 24. 
 Rose, the,, 70. 
 
INDEX. 
 
 167 
 
 / 
 
 Rowland, 89. 
 
 Rufus, William, 119, 125, 134, 135, 149. 
 rug gown, 129, 142. 
 Ruscus, browne, 4, 12. 
 Rutland, Elizabeth, Countess of, 
 24, 82. 
 
 St. Bartholomew the Less, Parish of, 21. 
 
 St. John's College, 144. 
 
 St. Saviour, Parish of, 62. 
 
 Satires, 102, 106, 1 10. 
 
 Satires, 1-12, 47, 48, 73, 74, 116. 
 
 Satiro, 19. 
 
 Satiromastix, i, 35, 51, 67, 76, 80, 81, 
 
 103, 107, 112, 114, 117, 118-136, 143, 
 
 147. 
 Saviolina, 53. 
 Saviolo, 90. 
 schelling, f. e., 10. 
 Schmidt, Ale.xander, 16. 
 School of Shakspere, The, 15, 16, 31, 
 
 32,85, 116. 
 Scourge, Grand, 46, 48, 64. 
 Scourge of Villanie, The, 2-6, 8, 9, 11, 
 
 31, 32, 35, 46-48, 50, 51, 79, 91, 116, 
 
 "7. 143- 
 
 Seccombe, Thomas, 92. 
 
 Seven Deadly Sins of London, The, 114. 
 
 Seven Planets, Booke of the, 118. 
 
 Seven Satyres applied to the Week, 47 . 
 
 Shakespeare and fonson. Dramatic ver- 
 sus Wit Combats, etc., see Cartwright. 
 
 Shakespeare Burlesqtced by Two Fellow 
 Dramatists, 34, 42. 
 
 Shakespeare, Life of (Halliwell-Phil- 
 lipps), 106; (Fleay), 147. 
 
 Shakespeare Manual, 61, 67, 112. 
 
 Shakespeare^ s Library, 14. 
 
 Shakespeare Society Publications, 68, 122; 
 {^Transactions of the New'), 62, 94. 
 
 Shakespeare, William, and the 
 "War," I, 17, 144-151; not criti- 
 cised necessarily in the Prologue to 
 Every Man in His Humour, 14-16; 
 
 not Stephen or Wellbred, 17 ; Jon- 
 son second only to, t^-t^ ; suggested 
 identification of Posthast with, 34, 
 41-43; suggested reference by, to 
 Daniel, 54 ; suggested identification 
 of Planet with, 75; suggestion that 
 the nickname " Deformed " was ap- 
 plied by his critics to, 94 ; possibly 
 one of the " better natures," 104 ; and 
 Jonson, 108, 109, 116, 144, 150; sug- 
 gested identification of, with Ovid, 
 108; with Virgil, 109; identified by 
 critics with at least one character in 
 every play, 119 ; suggested identifica- 
 tion of, with "William Rufus, 119, 
 120 ; story that Jonson's release 
 after his duel was due to the inter- 
 vention of, 122; "puts down" all 
 the University playwrights, 145; the 
 "purge" of, 145-150; Jonson, Mar- 
 ston, and, reconciled, 147. 
 
 Shakspeare and his Time, 107. 
 
 Shakspcre Allusion-Books, 62. . 
 
 Shakspere, School of, see Simpson. 
 
 Shawe, Robert, 146. 
 
 Shift, 59, 60, 104, 120. 
 
 Shoetnaker's Holiday, The, 33, 67, 68. 
 
 Sidney, Philip, Sir, 14, 25, 54. 
 
 Siege of Ostend, 145. 
 
 Silence, Justice, 89. 
 
 Simpson, Richard, 15, 16, 31, 32, 34- 
 37, 40, 42, 43, 51,71,72, 74,85,94, 1 16. 
 
 sintheresis, 6g. 
 
 Sir Clyomon and Clamydes, 16. 
 
 Smith, Homer, 30. 
 
 Snuff, 137. 
 
 Sogliardo, 12, 19, 45, 49- S^. 60-62, 93, 
 112. 
 
 Somerset, 1 1 . 
 
 Sordido, 61, 62, 73. 
 
 Southwark, 62, 63. 
 
 Spanish Invasion, 33. 
 
 Spanish Tragedy, The, 22, 23, 25, 99- 
 
1 68 
 
 INDEX. 
 
 Spencer, Gabriel, 68, 121. 
 Spenser, Edmund, 22, 24, 54. 
 Spenser, Works of Edimind (Grosart), 
 
 24. 
 spurious, 117. 
 State Papers, 87. 
 Stationers^ Register, 8, 90, 144. 
 Steel Glass, The, 47. 
 Stephano, 14. 
 
 Stephen, 14, 17-19, 26, 60, 61. 
 Stephens, Sir James, 105. 
 Stewart, Lady Frances, 120. 
 Stukeley, The Life and Death of Captain 
 
 Thoinas, 16, 133. 
 substantives and adjectives, game of, 
 
 80, 82, 91. 
 synderisis, 51, 69. 
 
 Tempest, The, 16. 
 
 Terill, Sir Walter, 119. 
 
 Terr ours of the Alight, The, 53. 
 
 Theatres, Early London, 105. 
 
 Theriomastix, 147. 
 
 Thersites, 146-148. 
 
 thing done and who did it, game of, a, 
 
 77. 95- 
 Thompson, W., 63. 
 Thorello, 14. 
 Tib, 14. 
 Tibullus, 108. 
 
 Tigellius, Hermogenes, 106, 108- no. 
 Timber, Jonson's, 10. 
 Torquatus, 2-11, 48. 
 traveller, 95. 
 Trebatius, 102. 
 
 Troilus and Cressida (Shakespeare), i, 
 42, loi, 144-151 ; (sub-play in Nis- 
 triomastix), 32, 42, see "Troyeles." 
 tropic, 51. 
 
 "Troyeles and creasse daye," 146. 
 True Reporte of the Death and Martyr- 
 dom of Thomas Campion, The, 43. 
 Tme Soldiers, 1 20. 
 Tubrio, 12. 
 
 Tucca, 22, 104, TIG, 113-116, 121-125, 
 
 129-133. 135- 
 turgidous, 1 17. 
 Tweedle, Timothy, 75. 
 Twelfth Night, 65, 66, 86, 151. 
 
 Udal, Nicholas, 105. 
 Under-woods, 10, 120, 123. 
 un-in-one-breath-utterable skill, 26. 
 Untruss, Second, 46, 48, 64, 105, 114, 
 117, iiS. 
 
 Vaughn, Sir Reesap, 119-123; 126, 127. 
 venerie, Jonson given to, 2, 4, 40, 78. 
 ventosity, 1 17, 118. 
 Virgidefniarnm, see Hall, Joseph. 
 Virgil, 104, 106. 
 Virgil, 109. 
 
 Ward, A., 109, 138, 145. 
 
 " War of the Theatres," the term, 1,2; 
 duration of the, 105 ; ended for Jon- 
 son, 118; allusion to, in What You 
 Will, 141 ; plays concerned in the, 
 152. 
 
 Warning for Fair Women, A,\^. 
 
 Warton, Thomas, 48. 
 
 Watson, Thomas, 30. 
 
 Webbe, William, 93. 
 
 Welch, Charles, 86. 
 
 Wellbred, 14, 17, 18, 23-27. 
 
 Weston, Hierome, 120. 
 
 Whalley, Peter, 104. 
 
 What You Will, i, 118, 137-143, 151. 
 
 Wheatley, H. B., 21. 
 
 Whetstone, George, 14. 
 
 whippe, Ramnusia's, 35. 
 
 William Rufus, see Rufus. 
 
 Winifride, 72. 
 
 Winter'' s Tale, 16. 
 
 Wood, Henry, 34, 42, 43, 116. 
 
 Woodward, Henslowe servant to, 62. 
 
 York, 15, 16. 
 
 Yorkshire Tragedy, The, 77. 
 
 Zodiac, 51. 
 
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