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 Studies in Philology 
 
 A Quarterly Journal Published Under the 
 
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 Volume XII Number 1 
 January, 1915 
 
 
 
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 1 1 
 
Volume XII January, 1915 Number 1 
 
 STUDIES IN PHILOLOGY 
 
 A QUARTERLY JOURNAL PUBLISHED UNDER THE 
 DIRECTION OF THE 
 
 Philological Club of the University of North Carolina 
 
 Wine, Beere, Ale, and Tobacco 
 
 A SEVENTEENTH CENTURY INTERLUDE 
 
 EDITED WITH INTRODUCTION AND NOTES 
 
 By 
 JAMES HOLLY HANFORD, Ph.D. 
 
 {Associate Professor of English in the Universily 
 of North Carolina) 
 
 CHAPEL HILL 
 PUBLISHED BY THE UNIVERSITY 
 
 
 Wondgfraph 
 
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PREFACE 
 
 The little interlude or debate here studied and reprinted has been passed over 
 by students of the Elizabethan drama almost in silence. It has been thought of, 
 apparently, as a mere dramatic oddity, filling no recognized niche in the structure 
 of literary history. And yet the piece deserves to be remembered, if only as a 
 curious specimen of the wit of other days. It has, moreover, a wealth of contem- 
 porary allusion of a pecuUarly interesting kind, illustrating particularly the tavern 
 manners of our ancestors and the lore and language of their drinking. The piece 
 is full of the stock witticisms, the ephemeral turns of phrase which were the modern 
 polite conversations of those days.' 
 
 ' And finally the dialogue is after all not quite sui generis, but possesses a hitherto 
 unrecognized significance in its relation to the academic drama and especially 
 to the minor entertainments in vogue at Cambridge University. Definite evidence 
 that Wine, Beere and Ale was itself written for performance at Cambridge is lack- 
 ing, though it is by no means improbable that such was the case. But its imme- 
 diate literary connection with the little group of Cambridge plays among which 
 I have placed it can hardly be questioned. 
 
 This connection is clearer in the first edition of the piece than in the second. 
 I have chosen, however, to reprint the latter because of the interest of the added 
 material. The differences, which are considerable, between the first and second 
 editions are clearly indicated in the footnotes. The third edition differs from the 
 second chiefly in matters of spelUng and punctuation; variants of this sort, I have 
 not thought it necessary to record. In a few cases where I have corrected obvious 
 errors of t>'pography in the edition of 1630, the changes have been duly noted at 
 the bottom of the page. In collating the third edition I have made use of a 
 copy in the possession of Mr. Alfred C. Potter of Cambridge, Massachusetts, 
 who has very generously put his extensive collection of tobacco Hterature at my 
 disposal. 
 
 * For example, Toast's riddling description of Nutmeg: "round and sound and all of a colour"; 
 Wine's excellent proverb: "At Dancing and at Foot-ball, all fellowes"; and Ale's "Gentlemen are 
 you so simple to fight for the wall. Why the wall's my Landlords," a joke as threadbare in its day , 
 no doubt, as any of the stale witticisms of society recorded by Dean Swift. 
 
INTRODUCTION 
 
 I. Editions and Reprints 
 
 "Wine, Beere, and Ale, Together by the Eares. A Dialogue, 
 Written first in Dutch by Gallobelgicus, and faithfully translated out 
 of the originall Copie, by Mercurius Brittanicus, for the benefite of his 
 Nation. Horat. Siccis omnia nam dura Deus proposuit. London, 
 Printed by A. M. for John Grove, and are to bee sold at his Shop, at 
 Furnivals Inne Gate in Holborne. 1629." Such, in full, is the title 
 page of the first edition of the dialogue reprinted in the following 
 pages. The volume is extremely rare; indeed, I know of but a single 
 copy, a small octavo in the British Museum, formerly in the possession 
 of the Duke of Roxburghe.^ It has never, to my knowledge, been 
 reprinted. 
 
 A second edition, "much enlarged," appeg-red in 1630 with the 
 title "Wine, Beere, Ale, and Tobacco Contending for Superiority," 
 and it is upon this that the present text is based. The revision con- 
 sisted in the addition of the sprightly role of Tobacco and in two con- 
 siderable excisions from the earlier text. Of this second edition 
 copies are to be found in the British Museum, in the Bodleian, and in 
 private hands. It was reprinted substantially without change for the 
 same bookseller in 1658, adorned with a wood cut representing a 
 tavern scene. 
 
 A reprint of the second edition was published in 1854 by J. O. 
 Halliwell in his Literature of the Sixteenth and Seventeenth Centuries, 
 without collation of the first or third editions or other critical appara- 
 tus.2 Halliwell's volume was of limited circulation and is now very 
 rare. The dialogue may, therefore, fairly be called inaccessible to the 
 modern reader.^ 
 
 ' The Roxburghe arms are stamped on the fly leaf, and the book is listed in the sale catalogue of 
 the library of John, third duke, arranged by G. and W. Nichol, London, 1812. The passages in the 
 text of the first edition which were omitted in the edition of 1630, are carefully indicated in this copy 
 in ink, presumably for the direction of the printer in setting the second edition. It is clear from the 
 typographical similarities of the two that the compositor had the printed text before him. 
 
 ' Halliwell makes no mention of the first edition. He remarks that he has heard of the existence 
 of an earlier reprint but has been unable to find any trace of it. Possibly the edition of 1658 was the 
 one referred to. 
 
 ' Wine, Beere, and Ale is entered as a ballad, in a list with others, to Francis Codes, Jan. 24, 1630. 
 Stationers' Register, ed. Arber, IV, 236. This can hardly refer to the second edition of our dialogue, 
 which bore a different title. The entry may record the transfer of publishers' rights in the first edition 
 or, what is more likely, the publication or transfer of a ballad using the same material. 
 
Wine, Beere, 
 
 II. Date and Authorship 
 
 The ascription of Wine, Beere, and Ale, on the title page of the 
 first edition, to Gallobelgicus and Mercurius Brittanicus conveys no 
 trustworthy information regarding either its authorship or its soured. 
 The names are obviously mere humorous adaptations of the pseu- 
 donyms used by the publishers of two contemporary news books; 
 Mercurius Brittanicus being the first English newspaper, started by 
 Thomas Archer in 1625, and Mercurius Gallobelgicus, a Latin review 
 of continental affairs, which had been issued at half yearly intervals 
 from Cologne since 1594 and which circulated widely in England as 
 well as abroad. That the play is no translation from the Dutch but 
 an original product of English wit is clear enough from the text itself, 
 with its abundance of purely English allusions and its incessant rattle 
 of English puns.^ 
 
 But while these names afford no clew to the authorship of the play, 
 they are of some slight assistance in determining its date. The first 
 number of Mercurius Brittanicus was issued February 23, 1624-25; 
 the last extant number is dated February 8, 1625-26, but the periodical 
 probably continued to run until the end of the year. The title page 
 of Wine, Beere, and Ale must, therefore, have been composed not 
 earlier than 1625, for, although the pseudonym Mercurius Brittanicus 
 had been used as early as 1605 by Joseph Hall in his Mundus Alter et 
 Idem, the association of the name in the present instance with Gallo- 
 belgicus makes it apparent that Archer's corranto is here alluded to. 
 Unfortunately, this establishes no date for the dialogue itself, since 
 the title page may well have been written when the play was prepared 
 for publication, in or before the year 1629. In the second edition the 
 pseudonyms were dropped.^ 
 
 A date not earlier than 1615 is established by the fact that Worke 
 for Cutlers and Exchange Ware at Second Hand, which, as I have 
 
 The character of Sugar as an attendant on Wine would have had no point outside of England. 
 See note to line 5. John Taylor's Drinke and Welcome, which has some affinities with the present 
 dialogue, likewise alleges the authority of a Dutch original. (London 1637 ; reprinted Ashbee, Occasion- 
 al Facsimile Reprints, no. 17.) Dutch, in the latter instance at least, means German, and it is doubt- 
 less the German fondness for the malt liquors that accounts in both cases for the ascription. Dr. Har- 
 old De Wolf Fuller, who has been so kind as to look up the matter, informs me that he has been unable 
 to find any evidence for a Dutch original of Wine, Beere, and Ale. 
 
 ^ See J. B. Williams, A Uitlory oj English Journaliim to the Founding oj the Gaiette. 1908, p. 26. 
 
Ale, and Tobacco ^ 7 
 
 shown below ,^ served as models for Wine, Beere, and Ale. were pub- 
 lished and probably acted in that year. 
 
 Internal evidence would point to the years 1624-1626. There are 
 clear allusions to the statute against drunkenness, first passed in 1603. 
 This act was made perpetual in 1623-4 and enlarged shortly after the 
 accession of Charles in 1625.^ The allusions may well have been 
 prompted by one or the other of these confirmations of the law. 
 
 A reference to the rise in the price of wines would also, apparently, 
 fit this date.® According to the tables of Rogers, the price of claret 
 and sack, after remaining fairly stationary for several years, rose from 
 2s and 3s 4d in the preceding year to 2s 4d and 3s 8d the gallon in 
 1621-2, went down again in 1623-4, and rose permanently in 1624-5. 
 A still further increase in the price of sack and a marked advance for 
 the sweet wines is recorded for 1627-29. 
 
 Finally, the deliberate and uncalled for vilification of tobacco in 
 the first edition^ suggests that the dialogue was probably composed 
 while James I's well-known aversion to the herb was still in the 
 ascendant. The prejudice of the reigning monarch had been similarly 
 flattered by Daniel in The Queen's Arcadia^^ (1605) and by Jonson in 
 the Masque of the Metamorphosed Gipsies^^ (1621). The king is said 
 to have been deeply interested in the tobacco disputations which took 
 place at Oxford on the occasion of the same royal visit which saw the 
 performance of Daniel's masque. If Wine, Beere, and Ale, in its 
 earlier form, was prepared as an interlude for the entertainment of the 
 king, whether at Cambridge^^ or elsewhere, the tobacco passage would 
 be sufficiently explained. In the second edition the author or reviser 
 appears to have no scruple about giving the tobacco devil his due. 
 The intruder is, to be sure, violently disgusting to the other characters 
 
 •Pp. 14 ff. 
 
 ' See note to lines 472 and 325. We may infer from the latter reference that the statute or its 
 enforcement was of recent date. 
 
 *See note to line 121. 
 
 ' See p. 25 ff. of text. Observe that Wine's defence of the weed is purely satirical: "Why, when a 
 man hath not the wit wherewith to deliver his meaning in good words, this being taken dus presently 
 help him to spit it out gentleman- like." Note ako that Sugar has the last word. 
 
 " Works, ed. Grosart, vol. II, p. 253 (lines 1110 ff.). 
 
 " Works, ed. Cunningham, vol. VII, p. 394. The verses about tobacco do not occur in the manu- 
 script but are found in the earliest editions. 
 
 ^ Perhaps for his last visit, in 1625, as I have suggested below, p. 19. 
 
8 Wine, Beere, 
 
 and his manners are unquestionably bad. But he speaks effectively 
 in his own behalf and succeeds at length in winning recognition. In 
 one passage in the second edition the reviser seems to be making fun 
 of the late poet-prince and pretty clearly alludes to the passing away 
 of the royal ban on smoking.^' 
 
 III. History of the Material 
 
 The general theme of the present dialogue — a contention between 
 personified beverages — is a very old one in the literature of Europe. 
 The tradition reaches back at least as far as the Goliardic poetry of 
 the twelfth century. In the middle ages, however, the dispute usually 
 involved a comparison not of related liquors, as here, but of the 
 antagonistic and opposite beverages of wine and water. The contest 
 between these two irreconcilable enemies was waged in a hundred 
 forms in practically all the languages of western Europe, and it has 
 continued in French and German popular tradition to the present 
 day.^* An English nursery rhyme from Devonshire, adapted from a 
 German folksong, is clearly the descendant of the mediaeval disputa- 
 tion, but this, so far as I know, is the only appearance of the wine and 
 water material on English soil, though, of course, English versions, 
 particularly in ballad form, may have existed. 
 
 Wine, Beere, and Ale bears little specific relation to the typical 
 debate of wine and water; the arguments and motives which it has in 
 common with the continental versions are only such as would be 
 likely to develop independently, given the subject of a contention 
 among drinks. Still, considering the fact that both Wine and Water 
 appear as persons in the contention, it seems reasonable to count our 
 play as belonging to the common European tradition. 
 
 The existence of certain variations in the material which more or 
 less closely approximate those of our debate makes this connection 
 more apparent. There are, for example, a number of poems in which 
 not Wine and Water but the different wines contend. And in one 
 instance,^^ after the controversy of the wines, Water appears in order 
 
 '' Lines 633 £f: "I am in fauour, and am growne to be the delight of poets and princes." etc. 
 " See Hanford, "The Mediaeval Debate between Wine and Water" in Publications oj the Modern 
 Language Association of America, XVIH, 3, (1913). 
 
 ^^ I.a Disputoison du Vin et de I'laue, Juhinal, Nouveaiirecueil, II, 293; Wright, Latin Poems attrib- 
 uted to Waller Mapes. 299 ff. 
 
Ale, and Tobacco 9 
 
 to plead his cause against them all. The matter is referred to 
 Cupid as a connoisseur, who makes peace by declaring that each 
 Wine has its particular use and virtue but that Water, as a 
 common necessity, deserves to be held in highest honor. With 
 this decision may be compared the verdict of Parson Water in the 
 present dialogue, allowing to each of the liquors its " singular itie." 
 
 In a few mediaeval debates Wine contends with other beverages. 
 And finally there are two Latin pieces, representatives perhaps of a 
 much older tradition,"^ in which Wine and Beer, the main antagonists 
 in Wine, Beere, and Ale, though they do not contend in person, are 
 contrasted much after the fashion of a debate. In the first of these, 
 a Goliardic AUercatio vim et cervisiae^'' of the twelfth century, the 
 writer, after bespeaking our attention to the iurgia of beer and wine, 
 presents the causes of the two liquors in turn, closing with an emphatic 
 pronouncement against the "daughter of straw" and in favor of the 
 nobler liquor. The second Latin poem or pair of poems in which a 
 comparison of wine and beer constitutes the theme is a Versus in 
 commendatione vini attached to a Responsio ad quemdam contra cer- 
 visiam,^^ both ascribed to Peter of Blois (died c. 1200). In the first 
 the poet lauds wine by contrast with beer, describing in detail the 
 effects of each; the Responsio is evidently a reply to some poem which 
 turned the tables on Peter's Versus by praising beer at the expense of 
 wine. The points made in the comparison are, naturally and inevi- 
 tably, much the same as those in the AUercatio, described above, and 
 in Wine, Beere, and Ale. 
 
 Coming to English literature contemporary with our dialogue of 
 Wine, Beere, and Ale, we shall find comparison of wine and the malt 
 
 '" A Greek epigram by the Emperor Julian contrasts Celtic beer with wine. iWorks. Ed. Hertlein, 
 p. 611). The former beverage is declared to have no title to the name of Bacchus. "Beer has the 
 odt)r of a goat while wine has that of nectar. The Gauls made beer in default of grapes. It is the son 
 of Ceres not of Dionysus." The traditional prejudice against beer appears again in the Latin epi- 
 gram of Henri d' Avranches, quoted below, note to line 291, and in Henri d' Andeli's Batail'.e des Vins, 
 where a priest excommunicates beer from the fellowship of the wines. 
 
 "S'escomm.enia la cervoise 
 Qui estoit fete dela Gise, 
 En Flanders et en Engleterre. 
 (Oeuvres de Henri d' Andeli, ed. Heron, p 29.) 
 
 >' Reprinted by Bomer in Haupt's Zeilschrift, 49 (1907-8), 161. 
 1' Migne, Patrologia Latina, 207, col. USS. 
 
10 Wine, Beere, 
 
 liquors not uncommon. Thus in the ballad "Sack for my Money, "^^ 
 of the time of James I, the rivalry of wine and beer is implied through- 
 out. 
 
 "We'l sing and laugh, and stoutly quaff. 
 And quite renounce the Alehouse; 
 For Ale and Beer are both now dear, 
 The price is rais'd in either." 
 
 The excellency of wine over ale and beer is also maintained by Henry 
 Lawes in a later lyric,2o and by Thomas Randolph in Aristippus. 
 Nor were the humbler liquors quite without their champions. John 
 Taylor, the Water Poet, thus deplores the present neglect of their 
 homelier virtues: 
 
 "Bacchus is ador'd and deified 
 And we HispaniaUzed and Frenchifide, 
 Whil'st Noble Native Ale and Beere's hard fate 
 Are like old Almanacks, quite out of date."-' 
 
 And Joseph Beaumont makes ale speak in its own defense in his poem 
 entitled "An Answer of Ale to the Challenge of Sack. "22 Water also 
 enters into the controversy in Taylor's Drinke and Welcome, where it 
 is exalted above ale, wine, and beer, though each of these liquors is 
 elaborately praised each for its special excellence. Beer, because of 
 its supposedly exotic character, suffers by contrast with ale at the 
 hands of Randolph (if the piece be his) in a ballad entitled "The 
 High and Mighty Commendation of a Pot of Good Ale."^^ 
 
 "Beer is a stranger, a Dutch upstart, come, 
 WTiose credit with us sometimes is but small; 
 But in records of the Empire of Rome, 
 The old Catholic drink is a pot of good ale." 
 
 With the exception of Aristippus, which has a special relation to our 
 dialogue and is to be considered later, none of these pieces is, strictly 
 speaking, in debate form. They afford the material, however, and 
 
 " Collier, Roxhurghe Ballads, 177; Roxburglie Ballads, ed. Ebsworth, VI, 319. 
 -" Sandys, Festive Songs (Percy Society), xlii. Cf. also xliv. 
 -' Quoted by Bickerdyke, Curiosities of Ale and Beer, p. 7. 
 ^^ Bickerdyke, p. 8. 
 " Works, ed. Hazlitt, II, 662. 
 
Ale, and Tobacco 11 
 
 show a tendency to personify the rival liquors. It is not surprising, 
 therefore, that the question of the relative merits of the beverages 
 should, under the influence of other debates, have flowered into a 
 dramatized dispute.^^ 
 
 The tobacco episode, added in the second edition, has behind it a 
 fiercer and more novel controversy. Ever since the introduction of 
 the herb into Europe its merits and demerits had been hotly canvassed 
 by a hundred pens. Learned physicians wrote disquisitions on its 
 medicinal value. Monarchs lost their dignity while inveighing 
 against its vileness. The history of this quarrel is too extensive and 
 too familiar to be recorded here.^^ There are, however, a number of 
 individual tobacco documents which deserve special consideration 
 because of their approximation in one way or another to the present 
 debate. 
 
 Tobacco not infrequently appears in seventeenth century litera- 
 ture in propria persona. Thus in Lingua, Tobacco makes an elaborate 
 speech in praise of his own virtues. The herb is constantly associated 
 with alcoholic liquors in the literature of the time, as it was, of course, 
 in life, and this association was emphasized by the common use of the 
 term "drink" as applied to the taking of tobacco. Ale and tobacco 
 are praised together in Ravenscroft's Brief Discourse of Music (1614). 
 Barnabe Riche, in his Honestie of this Age, notes that drinking and 
 smoking almost invariably go together, "for it is a commodity that is 
 now as vendible in every taverne, inne and ale-house, as eyther wine, 
 ale, or beare." 
 
 It is natural enough, then, that tobacco, the "dry drink," should 
 appear in literature as a rival of the standard beverages. A ballad in 
 WiVs Recreation (1640), entitled "The Tryumph of Tobacco over Sack 
 
 ^ "A Dialogue between Claret and Darby Ale; A Poem considered in an accidental conversation 
 between two gentlemen" was printed for E. Richardson in 1691. See Marchant, In Praise of Ate, 
 London, 1888, p. 434, for a reprint. 
 
 ** See Arber, English Reprints, Works of James I, 81 ff: On the Introduction and Early Use of Tobacco 
 In England. 
 
12 Wine, Beere, 
 
 and Ale,"^^ may well be a recollection of the second form of our dia- 
 logue. An earlier and closer approach to the material and form of 
 our debate is to be found in the antimasque of the Masque of Flowers,'^'' 
 performed at Gray's Inn, 1613-14. Here the liquors are represented 
 by Silenus, who enters accompanied by a wine cooper, a vintner's 
 boy, and a brewer; while the cause of tobacco is championed by 
 Kawasha and his attendants— a skipper, a fencer, a pedler, and a 
 barber. The two leaders jibe at each other and praise themselves in 
 the usual debate manner. 
 
 Silenus: Kawasha comes in Majestie, 
 Was never such a God as he; 
 He is come from a farre countrey 
 To make our nose a chimney. 
 
 Kawasha: The wine takes the contrary way, 
 To get into the hood; 
 But good tobacco makes no stay 
 But seizeth where it should. 
 
 As in Wine, Beere, Ale, and Tobacco, the contestants at length con- 
 clude by making peace and joining in a dance. 
 
 A thorough canvass of seventeenth-century tobacco literature 
 might yield other precedents for our debate; but for the direct sug- 
 gestion of the role of Tobacco in the second edition of Wine, Beere, 
 and Ale, we need go no further than the edition of 1629, where the 
 qualities of the weed are made the subject of a discussion between 
 Wine and Sugar.^^ 
 
 ^"Nay, soft by your leaves, 
 Tobacco bereaves 
 
 You both of the garland: forbear it: 
 You are two to one, 
 Yet Tobacco alone 
 
 Is like both to win it and wear it 
 
 For all their bravado 
 It is Trinidado. 
 
 That both their noses will wipe 
 Of the praises they desire. 
 Unless they conspire 
 
 To sing to the tune of his fife." 
 
 " Reprinted Nichols, Progresses 0/ James I, II, 740-1 and H. A. Evans, English Masques, pp. 100 ff. 
 ^ See footnote on pp. 25 ff. of text. 
 
Ale, and Tobacco ^^ 
 
 IV. Relation of Wine, Beere, and Ale to Certain Cambridge 
 
 Entertainments 
 
 Apart from its interest as an embodiment in English of the ancient 
 strife of the liquors, Wine, Beere, and Ale possesses a hitherto unob- 
 served significance, arising from its close connection with a little 
 group of debate plays on similar subjects, all of which we know to 
 have been written for performance at the University of Cambridge. 
 This connection, which I have already barely indicated in a previous 
 article, I wish now to consider in some detail. 
 
 1. Lingua. The earliest of the Cambridge debate plays in ques- 
 -ion is Lingua or the Combat of the Tongue and the Five Senses for 
 Superiority, an elaborate drama composed by Thomas Tomkis of 
 Trinity College, Cambridge, author of Albumazar,^^ and published in 
 1607. The precise date of the original production of this piece is 
 uncertain, but there can be no doubt that it was written for academic 
 performance in the early years of the century, and it is probable that 
 it was revived at a somewhat later date. 
 
 There is a general resemblance in the theme and in the nature of 
 the dramatis personae between this play and Wine, Beere, and Ale. 
 Lingua, however, has an elaborate plot, while our piece is little more 
 than a dialogue. The scene in Lingua is Microcosmus, the kingdom 
 of man's mind and body. Lingua, who stands for the faculty of 
 speech, stirs up a dissension among the five senses, by means of which 
 she may prosecute her own claim to be enrolled among their number. 
 To this end she allows them to find a robe and crown inscribed like 
 Paris's apple of discord—" to the most worthy. " The senses at once 
 fall to quarrelling and prepare to do battle, Visus and Auditus on the 
 one side, Tactus and Gustus on the other, with Olfactus standing 
 neutral but ready to join the victor. The case is at length submitted 
 to the arbitration of Communis Sensus, who, after the senses have 
 appeared before him in a pageant illustrating the joys that each can 
 give, decides in favor of Visus but consoles the others by awarding 
 them various privileges. Lingua, unlike Tobacco under somewhat 
 similar circumstances, is refused admission to the ranks of the senses, 
 
 » Tomkis's authorship, which had been conjectured by Fleay on the ground of similarity in style 
 with Albumazar. is proved conclusively by the ascription of the play to Tomkis in a list of plays be- 
 longing to Sir John Harrington, published by Fumivall in Notes and Queries, Ser. 7, IX, 382-3. 
 
Wine, Beere, 
 
 except in the case of women, who shall hereafter be said to enjoy a 
 sixth sense, that of speech. 
 
 This decision offers a special point of resemblance with Wine, 
 Beere, and Ale, for, just as Communis Sensus defines the particular 
 place and use of each of the senses, so Parson Water assigns to each of 
 the liquors its "singularity," as ale for the country, beer for the city 
 wme for the court. Tobacco, an upstart intruder, demanding a 
 place m the established triumvirate of drinks, plays, as I have sug- 
 gested, a similar role to that of Lingua in her relation to the senses ^o 
 It IS noteworthy, also, that Bacchus and Small Beer appear in the 
 tram of Gustus, while Tobacco, as Olfactus's chief witness, extols his 
 own virtues with as little modesty as his namesake in our play. 
 
 2. Worke for Cutlers, or a Merry Dialogue betweene Sword, Rapier 
 and Dagger, and Exchange Ware at Second Hand, or a Merry Dialogue 
 betweene Band, Cufe, and Rufe?^ These companion pieces, published 
 separately m 1615 and each bearing on its title page the words "acted 
 m a shewe at the famous Universitie of Cambridge" afford a much 
 more striking parallel to Wine, Beere, and Ale, appearing, indeed, to 
 have served as the models for the later piece. Like Wine, Beere, and 
 Ale they are properly debates-wit combats, wars of words, contain- 
 mg only a semblance of action but making up for this deficiency by an 
 unbelievable number of puns and "hits. " The following is a sample 
 passage : 
 
 ''Sword. Nay Rapier, come forth, come forth, I say, He give thee a 
 crown, though it be but a crackt one: what wilt not? Art so hard to 
 be drawn forth. Rapier? 
 
 Rapier S'foot thou shalt know that Rapier dares enter: nay Back- 
 Sword. 
 
 The striking similarity of these three debates in style and spirit 
 suggests very forcibly the idea that they may all be the work of a 
 single hand. Against this we have the probabUity that Worke for 
 Cutlers ^nd Exchange Ware were written some ten years earlier than 
 Wtne, Beere, and Ale. This, however, is not, on the evidence given 
 
 d.' ^^i^:^^^^^ mtrV" t"'''"^ '"'^^' ^^""^ ^'°'^° ^--'^ ^--^- '^ ^'0^0 ' 
 
Ale, and Tobacco 15 
 
 above, by any means certain; and if it were, it would not entirely 
 disprove identity of authorship. 
 
 But if the author of Wine, Beere, and Ale did not himself write the 
 earlier dialogues he certainly imitated them closely. The correspond- 
 ence which we have observed in style extends also to matters of 
 structure. Taking our text as it stands in the first edition, the 
 principal personages match the contestants of the other pieces with 
 sufficient exactness. They are relatives and rivals among liquors just 
 as Sword and Rapier, Band and Cuffe are relatives and rivals in arms 
 and haberdashery. The quarrel for precedence is carried on in much 
 the same way, beginning with angry words and leading up (as in the 
 earlier debates) to a challenge. The issue of a duel is avoided in all 
 three cases by the intervention of a mediator, some character akin to 
 but not quite a rival of the contestants — in theone play Dagger, in 
 another Band, in the third Water. These personages render parallel 
 decisions in almost identical terms.'^' A song in each case follows the 
 reconciliation of the rivals. 
 
 It is evident, then, that these three debates were modelled on one 
 and the same plan. But whereas Exchange Ware, and W^ork for 
 Cutlers manifestly correspond at every point. Wine, Beere, and Ale 
 shows an efi'ort to elaborate the material throughout. Thus to the 
 principals, Wine, Beere, and Ale, are added their servants, Sugar, 
 Tost, and Nutmeg, who enjoy a preliminary skirmish before the main 
 dispute. These figures were doubtless suggested by the mention of 
 Collar as Ruffe's "man" in Exchange Ware. A slight complication is 
 secured in Wine, Beere, and Ale by making Sugar, like Lingua, the 
 mischievous instigator of the broil. The number of principals is also 
 increased from two to three. Wine and Beere begin the brawl and 
 carry it on for some eighty lines in precisely the manner of the earlier 
 debates. Ale, entering just after the challenge, appears at first to be 
 about to play the pacific role of Band and Dagger, but being already 
 warmed by the mischief-loving Sugar, he is easily drawn into the 
 
 " "Well then, Ruff shall be the most accounted of among the clergy, for he is the graver fellow : 
 although 1 know the Puritans will not greatly care for him; he hath such a deal of sitting, and they love 
 standing better. As for you, Band, you shall be made the most of amongst the young gallants: al- 
 though sometimes they shall use Ruff for a fashion, but not otherwise,*' etc. Exchange Ware. Cf. 
 the decision of Water in the text, lines 373 ff., Dagger, in Worke for Cutlers, assigns Sword to the camp 
 and Rapier to the court. 
 
16 Wine, Beere, 
 
 controversy and the quarrel becomes triangular. The introduction 
 of Water therefore becomes necessary to settle the dispute. The 
 final song is followed by a dance in character. 
 
 Thus far had the process of elaboration gone in the first form of 
 the play. In the revision it was carried a step farther by the addition 
 of the ludicrous figure of Tobacco with his swaggering manners and 
 his tedious affectations. The idea, suggested perhaps by Lingua, of 
 making this alien and upstart stimulant disrupt the newly established 
 peace and force his way into the comradeship of his betters was an 
 extremely happy and successful one ; and it was no doubt largely be- 
 cause of this episode that the second version of our dialogue achieved 
 popularity. 
 
 3. Aristippus or the Jovial Philosopher. The Cambridge affilia- 
 tions of Wine, Beere, and Ale are further strengthened by comparison 
 with Thomas Randolph's Aristippus, the earliest of the farcical inter- 
 ludes composed by Randolph for representation at Cambridge. Here 
 the resemblance is not one of form but of subject matter. The enmity 
 of the drinks, which is the theme of Wine, Beere, and Ale, is central 
 also in Aristippus, though it is somewhat disguised by a more elaborate 
 setting. Simphcissimus comes in his innocence to sit at the feet of 
 the famous Aristippus. He finds the old philosopher's academy a 
 tavern and the burden of his discourse the praise of wine. "If I had 
 a thousand sons," said Falstaff, "the first humane principle I would 
 teach them should be, to forswear thin potations and to addict them- 
 selves to sack." Aristippus is true to the letter and spirit of this 
 creed. As a dramatic figure, indeed, he owes not a little to his jovial 
 predecessor. A wild man, the untutored representative of beer and 
 ale, enters to defend their cause against the philosopher's abuse, but 
 the "malt heretic" is driven out and later comes to confess his error. 
 
 Varied and original as are the elements in Randolph's composition, 
 it is difficult to believe that he did not derive a suggestion from Wine, 
 Beere, and Ale. Specific resemblances between the two dialogues are 
 recorded in the notes to the present volume.^^ ^he most striking of 
 these is the use by both Randolph and the author of our debate of a 
 Latin epigram fromfan obscure mediaeval author.^'* How widely 
 
 ^ See notes to lines 118, 121, 291, 294, 378, 472, 479. 
 ** See note to line 381. 
 
Ale, and Tobacco 17 
 
 these verses were current there is no means of knowing. They are 
 quoted in Camden's Britannia and in DuCange's Glossarium but I 
 have not met with them elsewhere. The translations of the lines in 
 the two plays are different and apparently independent. The most 
 reasonable assumption is that the quotation was familiar at this time 
 among Cambridge students and was used in the one dialogue because 
 it had been used in the other. Randolph was presumably the bor- 
 rower, since Wine, Beere, and Ale, as we have seen, was manifestly 
 modelled on an earlier pair of Cambridge interludes. It has occurred 
 to me that Randolph might possibly be the author of both works — he 
 is said to have been very active as an undergraduate in getting up 
 student entertainments — but this conclusion seems on the whole 
 unlikely. Wine, Beere, and Ale, though clever, is quite lacking in the 
 verve and extravagance which characterize all of Randolph's un- 
 doubted comedies. It is far more probable that he had either seen the 
 piece performed in his early years at Cambridge (he matriculated 
 July, 1624) or became acquainted with it immediately after its pub- 
 lication. Aristippus was entered on the Stationers' Register March 
 26, 1630. As the Cambridge session had been suspended since 
 November owing to the plague, the play, if acted at the University, 
 must have been written at least as early as 1629, the year in which 
 Wine, Beere, and Ale was published in its earlier form. 
 
 While there is no conclusive evidence to show that Wine, Beere, 
 and Ale was written for performance at Cambridge University, such 
 a supposition is, in view of what has already been said regarding its 
 relation to dialogues known to have been of Cambridge origin, very 
 probable. It is a fact that nothing so closely resembling this group — 
 nothing so like the acted debate of John Heywood's time, — is to be 
 found elsewhere in the Elizabethan or Stuart drama. Debate mater- 
 ial and motives do, indeed, appear with some frequency, but these 
 motives are usually incidental to the play as a whole. In masques, 
 where the contention sometimes constitutes the framework of the 
 piece, the subject is generally allegorical and didactic — the opposition 
 of mythological persons, of virtues and vices, or of other personified 
 abstractions. Perhaps the nearest akin in form and substance to the 
 Cambridge group are the Oxford debate play, Bellum Grammaticale,^^ 
 
 ^ See Johannes Bolte, Andrea Guarnas Bellum Grammaticale und seine Nachahmungen, Monumenta 
 Cermaniae Paedagogica, XLIII, where the Elizabethan play is reprinted. 
 
18 ' Wine, Beere, 
 
 and the allegorical Pathomachia?^ The parts of speech are the inter- 
 locutors in the one; virtues, vices, and the human affections in the 
 other. But while these plays have an obvious kinship with Lingua?'' 
 they differ from the other debates mentioned, including Wine, Beere, 
 and Ale, in that they have more elaborate plots and depend to a 
 slighter extent upon verbal wit. It is of importance in the present 
 discussion to note that both Bellum Grammaticale and Pathomachia 
 are university performances.^* Pathomachia may, indeed, be ascribed, 
 with a high degree of probability, to Cambridge.^^ 
 
 That entertainments of the debate type should have flourished 
 chiefly in the universities is not surprising. The form afforded a most 
 attractive opportunity for the exercise of wits already ground sharp 
 by the regular academic disputations, which after all differed by no 
 very wide interval from the fictitious debates. The idea of presenting 
 in character, with a dash of action and a spice of humor, controversies 
 akin to those which were every day being debated on the platform, 
 gave added zest to these dramatic performances. It has ever been 
 the delight of the young scholar to mimic his serious academic occupa- 
 tions in play. In Bellum Grammaticale, Pathomachia, and Lingua 
 there is promulgated in a semi-serious way an enormous amount of 
 college lore. Worke for Cutlers, Exchange Ware, Wine, Beere, and 
 Ale, and Aristippus, on the other hand, are purely humorous. Ran- 
 dolph's work preserves a mock academic atmosphere throughout and 
 the dialogue is littered with the flotsam and jetsam of erudition. 
 Exchange Ware and Worke for Cutlers derive their material from mat- 
 ters of fashion and social life, though each concludes with an academic 
 allusion.^" Wine, Beere, and Ale stands in this respect between the 
 
 ^ Pathomachia, or the Bailie of the Affections shadowed by a feigned Siege of the City of Pathopolis, 
 1630. Reprinted, Edinburgh, 1887 {Collectanea Adamantaea, XXII). 
 
 ^ See "The Debate Element," pp. 454-5, PalJtomachia appears to have been modelled in part on 
 Lingua, which is alluded to in the text. 
 
 '' For academic allusions in Pathomachia see I, iii and iv; II, ii: IV, iii etc. 
 
 "fin addition to the connection with Lingua, pointed out in note 3 above, there is in Pathomachia 
 an allusion to the well-known Cambridge play, Ignoramus, acted before James in 1615. Friendship 
 says to Justice "If I get within your Cony-burrowes, I shall disgrace you like Ignoramus." The 
 lawyer, Ignoramus, in the play of that name is hoodwinked and disgraced in various ways. Moore - 
 Smith {Modern Language Review, III, 149) is of the opinion that it was written by Tomkis, author of 
 Lingua. 
 
 *° But this hee hopes, with you will suffize, 
 To crave a pardon for a Scholars Prize. W. for C. 
 
 Claw me, and I'll claw thee, — the proverb goes: 
 Let it be true, in this that freshman shows. B., C, and R. 
 
Ale, and Tobacco 19 
 
 other two. Ale's somewhat formal argument, with his citation of 
 etymology, and his reference to his "Works" as evidence that he is 
 possessed of the "liberal sciences," Water's scraps of Latin, and 
 Wine's quotation from the poets, all combine to give the piece an 
 academic flavor. The general atmosphere, however, as might have 
 been expected from the subject matter, is rather that of the tavern 
 than of the classroom. It might be argued that the one scene no less 
 than the other would have to the academic audience the charm of the 
 familiar. 
 
 Against the hypothesis of Cambridge authorship we have the 
 absence of any clear and definite local "hits" such as we might expect 
 to find in a college play. But there is surprisingly little of this sort of 
 thing in Lingua, and, save for the two references in the concluding 
 songs, nothing in Workefor Cutlers or Exchange Ware. There are, on 
 the other hand, in Wine, Beere, and Ale one or two allusions to London 
 matters. Thus Tost (line 540) refers to the New River, a canal, 
 dedicated in 1613, which brought water from some twenty miles 
 north of London to a reservoir near Islington, to supply the city. 
 And Water, speaking of the musicians, remarks that they are some 
 friends of his who often "come upon the water. " It must be remem- 
 bered, however, that London references would be perfectly familiar 
 to a Cambridge audience. 
 
 Assuming that Wine, Beere. and Ale is indeed of Cambridge origin, 
 was it ever acted and, if so, under what conditions and by whom? 
 Mr. G. C. Moore Smith^^ suggests that Exchange Ware and Workefor 
 Cutlers, being alike so short, were played as interludes in the course of 
 some longer plays performed before King James on his earlier visit to 
 Cambridge in 1615. An imperfect copy of Exchange Ware exists in 
 the manuscript collection of Dramatic Pieces on the Visits of James I 
 to Cambridge. Wine, Beere, and Ale is but little longer and may have 
 been similarly used.^^ We know that a comedy and other entertain- 
 ments were prepared for the final visit of James to Cambridge in 1625 
 
 *^ Notes on Some English University Plays, Modern Language Review, III, 152. 
 
 *^ Nichols, Progresses oj James I, III. 66, gives the text of "A Cambridge Madrigal sung before the 
 King instead of Interlude music in Ignoramus," showing that such substitutions were in use. G. C. 
 Moore Smith notes that in the Ratio Siudiorum of the Jesuits there is mention, with tragedies and 
 comedies, of interludes between the acts 
 
20 Wine, Beere, 
 
 but never given, owing to the illness of the king. Some slight evi- 
 dence that our play was designed for presentation before James is 
 afforded by the earlier tobacco passage, which has little relation to the 
 context but would, as I have already remarked, have been well cal- 
 culated to please King James. 
 
 Perhaps, on the other hand, the sketch appeared under less reput- 
 able auspices. The less dignified sort of entertainment had not been 
 in high favor with the academic authorities. " Common plays, public 
 shews, interludes, comedies, and tragedies in the English tongue" 
 were prohibited in the second year of James I by a royal letter. 
 But the restriction would not appear to have been rigidly enforced. 
 It takes more than a royal ordinance or college edict to prevent stu- 
 dents from indulging in the surreptitious frolics to which they are 
 attached. Unlicensed shows are said by Mullinger to have been 
 frequently performed at neighboring inns. A student was suspended 
 in 1600 for having ventured to take part in an interlude at the "Black 
 Bear," where he appeared with "deformed long locks of unseemly 
 sight, and great breeches, undecent for a graduate or scholar of ordi- 
 nary carriage." Worke for Cutlers seems from the allusion in the 
 closing line to have been performed by freshmen. Perhaps Wine, 
 Beere, and Ale was also composed for the less seasoned scholars. 
 Certainly there is nothing in the piece that would be above the acting 
 powers of undergraduates. 
 
 In any case the play was evidently designed for actual representa- 
 tion.*^ Small touches throughout show that the writer had visualized 
 the action and even the costume of his characters. This would seem 
 to indicate that he had had some experience in waiting for the stage. 
 If he had indeed been the author of Worke for Cutlers and its companion 
 piece a few years before, the slightly greater complexity of the 
 action and the superior adaptation to stage purposes in the later 
 dialogue would be amply accounted for. 
 
 ^' Evidence on this point is to be found in the stage direction at the close of the play. In its 
 earlier form this reads: "A Daunce, wherein the severall Natures of them all .is figured and represented." 
 In the second edition the description was filled in, either by the author or by someone who was 
 familiar with the stage representation. See lines 677 ff. 
 
VV I N E 
 
 BEERE, ALE, 
 
 TOBACCO. 
 
 Contending forSuperiority. 
 
Ale, and Tobacco 21 
 
 THE STATIONER TO THE READERS.^ 
 
 Gentlemen; for in your Drinke, you will bee no lesse, I present 
 you with this small Collation : If either Wine and Sugar, Beere and 
 Nutmeg, a Cup of Ale and a Toste, Tobacco"^, or all together, may meete 
 your Acceptation, I am glad I had it for you. There is difference 
 betweene them; but your Palat may reconcile all. If any thing 
 distaste you, there is Water to wash your hands of the whole Pamphlet. 
 So hoping you will accept a Pledge of my Seruice, and haue a care of 
 your owne health, I begin to you. /. Gr. 
 
 THE SPEAKERS 
 
 Wine, A Gentleman. 
 
 SvGAR, His Page. 
 
 Beere, A Citizen. 
 
 NvTMEG, His Prentice. 
 
 Ale, a Countrey-man. 
 
 Tost, One of his rurall Seruants. 
 
 Water, A Parson. 
 
 Tobacco, A swaggering Gentleman.^ 
 
 * Readers. Ed. 1629, Reader. 
 
 ' Tobacco. Omitted in Ed. 1629. 
 
 ' Tobacco, A Swaggering Gentleman. Omitted in Ed. 1629. 
 
Wine, Beere, Ale, and Tobacco 
 
 Contending for Superiority.* 
 
 Sugar and Nutmegge from seuerall doores meek. 
 
 Sugar. Nutmegge? 
 
 Nut. Sugar? well met, how chance you waite not \pon your 
 Maister, where's Wine now? 
 
 Sug. Oh sometimes without Sugar, all the while he's well if I bee 
 in his company, tis but for fashion sake, I waite vpon him into a 
 roome now and then, but am not regarded : marrie when hee is ill, hee 
 makes much of mee, who but Sugar? but to my remembrance I haue 
 not beene in his presence this fortnight, I hope shortly hee will not 
 know me, though he meete me in his drinke. 10 
 
 Nut. Thou hast a sweete life in the meane time Sugar. 
 
 Sug. But thou art tied to more attendance Nutmegge vpon your 
 Maister Beere. 
 
 Nut. Faith no, I am free now and then, though I bee his Prentice 
 still, Nutmegge hath more friends to trust to then Beere: I can be 
 welcome to wine thy master sometimes, and to the honest Countrey 
 man Ale too. But now I talke of Ale, when didst see his man prethee? 
 
 Sug. Who, Tost? 
 
 Nut. The same. 
 
 Sug. I meete him at Tauerne euery day. 20 
 
 Nut. When shall thou, and he, and I, meete and be merry ouer a 
 Cuppe? 
 
 Sug. He tell thee Nutmegge, I doe not care much for his company, 
 he's such a chollericke peece, I know not what he's made of, but his 
 quarrelling comes home to him, for hee's euery day cut for it, I maruell 
 how he scapes, this morning he had a knife thrust into him 
 
 Nut. Indeed he will be very hot sometimes. 
 
 Sug. Hot? I, till he looke blacke ith' face agen, besides, if he take 
 an opinion ther's no turning him, hee'l be burnt first. I did but by 
 
 * Wine, Beere, etc. Ed. 1629, Wine, Beere, and Ale, Together by the Eares. 
 1 Sugar and Nutmegge from severall doores meete. Omitted Ed. 1658. 
 
 23 
 
24 Wine, Beere, 
 
 chance let fall some words against Ale, and hee had like to haue beaten 
 me to powder for it. 31 
 
 Nut. How; beaten Sugar? that would be very fine ifaith; but hee 
 being bread, and thou a loafe, you should not differ so. Stand, looke 
 where he is. 
 
 Enter Tost drunke. 
 
 Sug. Then He be gone, for we shall quarrell. 
 Nut. Come, feare not. He part you, but hee's drunke, ready to fall; 
 whence comes he dropping in now? How now Tost? 
 
 Tost. Nutmeg? round and sound and all of a colour, art thou there? 
 Nut. Heere's all that's left of me. 40 
 
 Tost. Nutmeg, I loue thee Nutmeg. What's that a Ghost? 
 Nut. No, tis your old acquaintance Sugar. 
 Tost. Sugar: He beat him to peeces. 
 Sug. Hold, hold. Nutmegge. 
 
 Nutmeg and Sugar hang vpon Tost. 
 
 Tost. Cannot Tost stand without holding? 
 
 Nut. Where haue you beene Tost? 
 
 Tost. He tell thee, I haue bin with my M. Ale. Sirra, I was very 
 drie, and he has made me drunke: doe I not crumble? I shall fall a 
 pieces; but He beate Suger for all that: I doe not weigh him, hee is a 
 poore Rogue, I haue knowne him solde for two pence, when hee was 
 young, wrapt in swadling clouts of Paper. I know his breeding, a 
 Drawer brought him vp, and now hee's growne so lumpish. 53 
 
 Sug. Y'are a rude Tost. 
 
 Tost. Rude? Let me but crush him: Rude? Sirra, tis well known 
 you come from Barbary your selfe, and because of some few Pounds in 
 a Chest, you thinke to domineere ouer Tost: y'are a little handsome, 
 I confesse, & Wenches licke their lips after you; but for all that, 
 would I might sinke to the bottome, if I doe not — : I will giue Sugar 
 but one box. 60 
 
 Nut. Come, come, you shall not. 
 
 Sug. Prethee Nutmeg, take out Tost a little, to morrow weele 
 meet and be drunke together. 
 
 48 M. Ed. 1658, Master. 
 
Ale, and Tobacco 25 
 
 Exit Nutmeg with Tost. 
 
 So, so, I am glad hee's gone: I doe not loue this Tosts company, yet 
 some occasion or other, puts me still vpon him. Ha, who's this? 
 
 Enter Wine. 
 
 Tis Wine my Master. 
 
 Wine. Sugar, you are a sweet youth, you wayt well. 
 
 Sug. A friend of mine call'd me forth, to cure a cut finger. 70 
 
 Wine. Youle turne Surgeon or Physician shortly. 
 
 Sug. But your diseases need none: for inflamations, which are 
 dangerous to others, makes you more acceptable, nor doe you blush to 
 haue it reported sir, how often you haue beene burnt. 
 
 Wine. So sir, now you put me in minde on't, I heare say you 
 runne a wenching, and keepe womens company too much. 
 
 Sug. Alas sir, like will to like. Sugar being of his owne nature 
 sweete, has reason to make much of women, which are the sweetest 
 creatures. 
 
 Wine. But some of them are sower enough. 80 
 
 Sug. I sir, Widdowes at fifteene, and Maides at twentie fine; but I 
 keepe them company, for no other thing, then to conuert them, some 
 of them could eu'n eate me, but for feare of spoiling their teeth. 
 
 Wifte. Indeed one of your sweet hearts complained t'other day you 
 made her teeth rotten. 
 
 Stig. Alas sir, twas none of my fault, she bit me first, and I could 
 doe no lesse, then punish her sweet tooth. 
 
 Wine. Well sirra, I say, take heed of women. 88 
 
 Sug. Nay sir, if I may credit my owne experience they are the 
 best friends I haue, for I am alwaies in their mouthes. If I come to a 
 banquet, as none are made without mee, in what fashion soeuer I 
 appeare, euery woman bestowes a handkercher vpon me, and striue to 
 carry me away in their cleanest linnen: nay, but for shame, to betray 
 their affections to mee, they would bring whole sheets for me to lie in. 
 
 67 Enter Wine. Ed. 1629. Enter Wine, drinking Tobacco. 
 
 68 Tis Wine my Master. Ed. 1629, Tis Wine my Master. What smoking? Wine and tobacco, 
 I thinke, are never asunder: but tis no marvell they agree so well, they both come out of a Pipe 
 
26 
 
 Wine, Beere, 
 
 Wine. Why sure thou wert wrapt in thy mothers smocke. 
 
 Sug. I thinke if the Midwife were put to her oath, I was wrapt in 
 hers, oth Christing day. 
 But see sir, here's Master Beere. 
 
 Enter Beere. 
 
 Wine. How, Beere? we are not very good friends, no matter, I 
 scorne to auoid him. 101 
 
 Beere. Beere-leaue sir. lustles Wine. 
 
 Wine. So me thinkes? how now Beere, running atilt, dost not 
 know me? 
 
 Beere. I doe meane to haue the wall on you. 
 
 Wine. The wall of me; you would haue your head and the wall 
 knockt together, learne better manners, or I may chance to broach you. 
 
 Beere. Broach me, alas poore Wine, tis not your Fieri facias can 
 make Beere afraid, thy betters know the strength of Beere. I doe not 
 feare your high colour sir. HO 
 
 Sug. So, so, here will be some scuffling. 
 
 Wine. You'le leaue your impudence, and learne to know your 
 superiours Beere, or I may chance to haue you stopt vp. what neuer 
 leaue working? I am none of your fellowes. 
 
 Beere. I scorne thou shouldst. 
 
 Wine. I am a companion for Princes, the least droppe of my 
 blood, worth all thy body. I am sent for by the Citizens, visited by 
 the Gallants, kist by the Gentlewomen: I am their life, their Genius, 
 
 97 Oth Christening day. The following passage from Ed. 1629 is omitted at this point: 
 
 Wine. Well sirra, enough of this discourse, you are for the woemen, but wee men haue a better 
 companion, and indeed bitter, as thou art sweet, that's this Tobacco. 
 
 Sug. I sir, but I could neuer arriue at the vnderstanding, why euery man should so affect it. 
 
 Wine. There's thy ignorance, tis an excellent discourser, and a heipe for the imperfections of nature . 
 
 Sug. As how, pray sir? 
 
 Wine. Why. when a man hath not the wit to deliuer his meaning in good words, this bein" taken 
 dus presently helpe help him to spit it out Gentleman-like. 
 
 Sug. Indeed the best part of our common complement is but smoake, and now I know how Gen- 
 tlemen come by it but me thinkes for all that, it takes from the honour of a Gentleman, to bee a com- 
 mon piper and if the premises bee well considered, wee may conclude, they are no more men that vse 
 
 Wine. How? not men? why? 
 
 Sug. Because it makes em children againe, for I am sure they that vse it most, doe but sucke all 
 the day long, and they are little better then children then. 
 
 102 lustles. Misprinted instles. 
 
 103 dost not know me? Ed. 1658, do'st thou not know me? 
 
Ale, and Tobacco 27 
 
 the Poeticall furie, the Hehcon of the Muses, of better value then 
 Beere; I should be sorry else. 120 
 
 Beere. Thou art sorie wine indeed sometimes: Value? you are 
 come vp of late, men pay deere for your company, and repent it: that 
 giues you not the precedencie; though Beere set not so great a price 
 vpon himselfe, he meanes not to bate a graine of his worth, nor sub- 
 scribe to Wine for all his braueries, 
 
 Wine. Not to mee? 
 
 Beere. Not to you: why whence come you pray? 
 
 Wine. From France, from Spaine, from Greece. 
 
 Beere. Thou art a mad Greeke indeed. 
 
 Wine. Where thou must neuer hope to come: who dares denie 
 that I haue beene a trauailer? 131 
 
 Beere. A trauailer? in a tumbrell, a little Beere will go farther: 
 why Wine, art not thou kept vnder locke and key, confinde to some 
 corner of a Cellar, and there indeed commonly close prisoner, vnlesse 
 the laylor or Yeoman of the Bottles turne the Key for the chamber- 
 maid now and then, for which shee vowes not to leaue him, till the 
 last gaspe, where Beere goes abroad, and randeuous in euery place. 
 
 Win. Thou in euery place? away hop of my thumbe: Beere, I am 
 asham'd of thee. 139 
 
 Beer, Be asham'd of thy selfe, and blush Wine thou art no better. 
 Beere shall haue commendations for his mildnesse and vertue, when 
 thou art spit out of mens mouthes, & distasted: thou art an hypocrite, 
 Wine, art all white sometimes, but more changeable then Proteus: 
 thou wouldst take vpon thee to comfort the blood, but hast beene the 
 cause that too many noble veines haue beene emptied: thy vertue is 
 to betray secrets, the very preparatiue to a thousand rapes and mur- 
 ders, and yet thou darest stand x'pon thy credit, and preferre thy selfe 
 to Beere, that is as cleare as day. 
 
 Sug. Well said Beere, hee beares vp stifife like a Constable. Now 
 will I play my part with'em both. Sir, To Wine 150 
 
 This is intoUerable. 
 
 Wine. The vessell of your wit leakes, Beere, why thou art drunke. 
 
 Beere. So art thou Wine, euery day i'th weeke, and art faine to be 
 carried foorth of doores. 
 
 150 To. Misprinted Tn. 
 
28 
 
 Wine, Beere, 
 
 Sug. How sir? To Wine, 
 
 Win. I scorne thy words, thou art base Beere: Wine is well borne, 
 has good breeding, and bringing \^; thou deseruest to be carted, 
 Beere. 
 
 Sug. Sufifer this, and suffer all, to him againe. 159 
 
 Beere. Carted? thou would be carted thy selfe, rackt and drawne 
 for thy basenesse. Wine. Welborne? Did not euery man call you 
 Bastard tother day? borne? ther's no man able to beare thee much: 
 and for breeding, I know none thou hast, vnlesse it bee Diseases. 
 
 Sug. How, diseases? you haue beene held alwayes to bee wholsome 
 Wine, sir. 
 
 Wine. Sirra, if I take you in hand, I shall make you smal Beere. 
 
 Beere. Take heed I doe not make Vineger of you first. 
 
 Sug. Doe, doe, make him pisse it, in my opinion sir, it were not for 
 your honor to run away: yet Beere being a common quarreler, I feare 
 may prooue too hard for you. 170 
 
 Wine. Too hard for me? away Boy, He be as hard as he for his 
 hart: alas, hee's but weake Beere, if I giue him but a tap, it shall stay 
 him from runing out thus. 
 
 Sug. So, so, they are high enough; fall too, and welcome. 
 
 Enter Ale. 
 
 Who's this? Ale? Oh for the three-men-Song: this Ale is a stout 
 fellow, it shall go hard, but Sugar which makes all sweet sometimes, 
 shall set him in his part of Discord. 
 
 Wine. Come, come, Beere, you forget how low you were tother 
 day: prouoke mee not too much, lest I bestow a firkin on you. 180 
 
 Beere. Strike and thou dar'st Wine, I shall make thee answere as 
 quicke as the obiection, and giue you a dash. 
 
 Ale. Vmh: what's this? it seemes theres great difference betweene 
 Wine and Beere. Sugar, what's the matter? 
 
 Sug. Oh goodman Ale, I am glad you'r come, heare's nothing but 
 contention: I haue gone betwLxt'em twice or thrice, but I feare, one or 
 both will be spilt. 
 
 Ale. What doe they contend about? 
 
Ale, and Tobacco 29 
 
 Sug. For that, which for ought I can apprehend, belongs as much 
 to you, as to either of them. 190 
 
 Ale. Hah? to mee? what's that? 
 
 Sug. Ale, by iudicious men hath been held no despicable drinke, 
 for my owne part, tis nothing to me: you are all one to Sugar, who- 
 soeuer be King, Sugar can be a subiect, but yet, twere fit, Ale had his 
 measure. 
 
 Ale. Are they so proud? 
 
 Sug. They mind not you, as if you were too vnworthy a Competi- 
 tor; See, tis come to a challenge. 
 
 Wine tkrowes downe the gloue, which Beere takes vp. 
 
 Pray take no knowledge that I discouered any thing of their Ambition; 
 Sugar shall euer bee found true to Ale, else would I might neuer be 
 more drunke in your company. 202 
 
 Ale. No matter for protestation. 
 
 Sug. So, so, now I haue warmed Ale pretty well. He leaue 'em: if 
 Wine Beere and Ale agree together, would Sugar might neuer bee 
 drunke but with Water, nor neuer helpe to preserue any thing but old 
 women, & elder brothers. Exit. 
 
 Wine. Remember the place, and weapon. 
 
 Ale. Stay, stay, come together agen, why how now, what fight, and 
 kill one another? 210 
 
 Wine. Alas poore Beere, I account him dead already. 
 
 Beere. No sir, you may find Beere quick enough, to pierce your 
 Hogshead. I shall remember. 
 
 Ale. But ith meane time you both forget your selues: dee heare? 
 Ale is a friend to you both, let me know your difference. 
 
 Beere. Hee has disgrac'd mee. 
 
 Wine. Thou hast disgrac'd thy selfe in thy comparisons. Wine 
 must be acknowledged the Nectar of all drinks, the prince of Liquors. 
 
 Beere. To wash Bootes. 219 
 
 Ale. Harke you, are you both mad? who hath heat you, that you 
 run ouer, do you contend for that in iustice belongs to another? I 
 tell you Wine and Beere, I do not rellish you. He tell you a tale: Two 
 
30 Wine, Beere, 
 
 spruce hot-spurre fiery gallants meeting ith streets, iustled for the 
 wall, drew, would ha been fighting: there steps mee forth a correcter 
 of soles, an vnderlaid cobler, and cries out. Hold, hold your hands 
 Gentlemen, are you so simple to fight for the wall? why the wall's my 
 Landlords. Haue you but so much wit as to apply this, you shall 
 neuer neede fence for the matter. Superioritie is mine, Ale is the 
 prince of liquors, and you are both my subiects. 
 
 Both. Wee thy Subiects? 230 
 
 Wine. O base Ale. 
 
 Beere. O muddy Ale. 
 
 Ale. Leaue your railing, and attend my reasons, I claime your 
 duties to mee, for many prerogatiues : my antiquitie, my riches, my 
 learning, my strength, my grauitie. 
 
 Wine. Antiquitie? your first reason's a very small one. 
 
 Ale. Dare any of you denie my antiquitie? I say. 
 
 Wine. We must beare with him, tis in his Ale. 
 
 Ale. It onely pleades for mee: who hath not heard of the old Ale 
 of England? 240 
 
 Beere. Old Ale; oh there tisgrowne to a Prouerbe, Tones Ale's new. 
 
 Ale. These are trifles^ and conuince me not. 
 
 Wine. If wee should grant your argument, you would gaine little 
 by't, goe together, I doe allow you both a couple of stale companions. 
 
 Beere. Wine, you're very harsh. 
 
 Ale. Let him, my second prerogatiue is my riches and possessions; 
 for who knowes not how mar y howses I haue? Wine and Beere are 
 faine to take vp a corner, your ambition goes no further then a Celler, 
 where the whole house where I am is mine, goes onely by my name, is 
 cald an Alehouse; but when is either heard, the Wine-house, or the 
 Beere-house? you cannot passe a streete, wherein I haue not houses 
 of mine owne, besides many that goe by other mens names. 252 
 
 Beere. I confesse you haue here and there an Alehouse, but whose 
 are all the rest? hath not Beere as much title to them? 
 
 Wine. And yet I haue not heard that either of you both haue 
 fin'd for Aldermen though I confesse something has bin attempted 
 out of nicke and froth. Be rul'd by me, Beere and Ale, & aspire no 
 heigher then the Common-Councell-houses. Oh impudence, that 
 either of you should talke of houses, when sometimes you are both 
 
Ale, and Tobacco 31 
 
 glad of a tub: dee heare Ale? doe not you knowe the man that did the 
 bottle bring? 261 
 
 Ale. Thou art glad of a Bottle thy selfe, Wine, sometimes, and so 
 is Beere too, for all he froaths now. 
 
 Beere. So, so. 
 
 Ale. My third Prerogatiue, is my Learning. 
 
 Wine. Learning? If you haue the Liberall Sciences, pray be free, 
 and lets heare some. 
 
 Ale. For that, though I could giue you demonstration, for breuities 
 sake I remit you to my bookes. 
 
 Beere. Bookes? printed Cum priuilegio no doubt on't, and sold for 
 the Company of Stationers: what are the names? 271 
 
 Ale. Admire me, but when I name learned, though not the great 
 Alexander Ale and Tostatus the lesuite. 
 
 Wine. O learned Ale, you scorne to make Indentures any more, 
 but you might as well haue concluded this without booke. 
 
 Beere. Why, you will shortly be Towne-Clerke, the Citie Chron- 
 icler is too meane a place for you. 
 
 Ale. Now for my strength and invincibilitie. 
 
 Beere. But heere let mee interrupt you, talke no more of strength, 
 none but Beere deserues to bee call'd strong, no pen is able to set 
 downe my victories. I? why, I haue been the destruction. — 281 
 
 Wine Of Troy, hast not? heere your owne mouthes condemne 
 you: if killing be your conquest, euery Quacksaluing knaue may haue 
 the credit of a rare Phisician, that sends more to the Church and 
 Churchyard, then diseases doe: I Wine, comfort & preserue, let that 
 be my Character. I am cosen German to the blood, not so like in my 
 appearance as I am in nature, I repaire the debilities of age, and re- 
 uiue the refrigerated spirits, exhilarate the heart, and Steele the brow 
 with confidence. For you both the Poet hath drawne your memoriall 
 in one. 290 
 
 nil spissius ilia 
 
 Duni bibitur, nil clarius est dum mingitur, vnde 
 Constat quod multas Jceces in cor pore linquat. 
 Nothing goes in so thicke. 
 Nothing comes out so thinne: 
 It must needs follow then, 
 Your dregs are left within. 
 
32 Wine, Beere, 
 
 And so I leaue you Stygiaemonstrum conforme paludi, monstrous 
 drinke, like the riuer Styx. 299 
 
 Ale. Nay but hearke, tis not your Latine must carry it away, I 
 will not loose a drop of my reputation, and by your fauour, if you 
 stand so much vpon your preseruing, He put you to your Latine agen, 
 and prooue my selfe superiour, for Ale as if it were the life of mankind, 
 hath a peculiar name and denomination, being cald Ale from Alo, 
 which euery Schoole boy can tell, signifies to feed and norish, which 
 neither Wine nor Beere can shew for themselues; and for my strength 
 and honour in the warres, know that Ale is a Knight of Malta, and 
 dares fight with any man beares a head, tis more safe to beleeue what 
 a Souldier I am, then trie what I can doe. 309 
 
 Beere. If you looke thus ilfauouredly Ale, you may fright men well 
 enough, and be held terrible by weake stomacks; but if you call to 
 mind the puissance and valour of Beere, invincible Beere, tumble 
 downe Beere, you must sing a Pallinode. I? why I haue ouerthrowne 
 armies, how easie is it for me to take a cittie, when I can tame Con- 
 stables; which in their presence are formidable at midnight, in the 
 middest of their rugged Bill men, make'em all resigne their weapons, 
 and send 'em away to sleepe vpon their charge. 
 
 Wine. How? vpon their owne charge? take the Constable com- 
 mitting that fault, and hee'l neuer bee good in his office after it. 319 
 
 Beere. Now for my vertue in preseruing and nourishing the body 
 wherein you both so glory, you are not to compare with mee; since 
 thousands euery day come to receiue their healths from me. 
 
 Wine. Kings and Princes from me, and like them I am serued in 
 plate. 
 
 Ale. But thou art come downe of late to a glasse, Wine: and that's 
 the reason I thinke, so many Vintners haue broake: now obserue my 
 last Reason. 
 
 Beere. Yes, pray where lies your grauitie? 328 
 
 Ale. Not in my Beard, I speake without mentall reseruation, He 
 tell you, and you shall confesse it: the Wise men of ancient time were 
 called Sages, and to this day it signifies iudgment, discretion, grauitie; 
 for by what other would you excite to good manners more aptly, then 
 to shew a young man to bee sage, that is graue: and with what title 
 can you better salute him that is graue, or more honour him, then to 
 
Ale, and Tobacco 33 
 
 call him one of the Sages? Now this appellation neither of you can 
 challenge, yet euery man giueth mee the attribute; for who knowes not 
 I am called Sage Ale? 
 
 Wi. One may guesse what braines he caries by the Sage now. 
 
 Ale. And thus hauing giuen you sufhcient reasons for your acknowl- 
 edgment of my principalitie, let your knees witnesse your obedience 
 to your King, and I will grace you both by making you Squires of my 
 body, right honorable Ale Squires. 342 
 
 Wine. This is beyond suffering: was euer Wine so vndervalued? 
 Barbarous detractors, whose beginning came from a dunghill, I defie 
 you. Bacchus, looke downe, and see me vindicate thine honour, I 
 scorne to procrastinate in this, and this minute you shall giue account 
 of your insolencies: my spirit's high, I am enemy to both. 
 
 Ale. Is Wine drawn? then haue at you, He make good Ale. 
 
 Beere. I stand for the honour of Beere, were you an army. 
 
 .4^ they ojfer to fight Water comes running in. 350 
 
 Water. Hold, hold, hold. 
 
 Wine. How now? what comes water running hither for? 
 
 Wat. Let my feare ebbe a little. 
 
 Beere. What tide brought you hither, Water? 
 
 Water. The pure streame of my affection: oh how I am troubled! 
 I am not yet recouered. 
 
 Ale. So me thinks you looke very thin vpon't Water: but why doe 
 we not fight? 358 
 
 Water. Doe not talke of fighting, is it not time that Water should 
 come to quench the fire of such contention? I tell you, the care of 
 your preseruation made me breake my banks to come to you, that you 
 might see the ouerflowing loue I beare you: your quarrell hath ecchoed 
 vnto me; I know your ambition for superioritie : you are all my kins- 
 men, neere allyed to Water, and though I say it, sometimes not a 
 little beholding to Water, euen for your very makings. Will you 
 referre your selues to mee, and wade no further in these discontent- 
 ments? I will vndertake your reconcilement and qualification. 
 
 Wine. To thee. Water? wilt thou take vpon thee to correct our 
 irregularitie? Thou often goest beyond thy bounds thy selfe. But if 
 they consent, I shall. 370 
 
34 Wine, Beere, 
 
 Beere. I am content. 
 Ale. And I. 
 
 Water. Then without further circumlocution or insinuation, Water 
 runnes to the matter: you shall no more contend for excellencie, for 
 Water shall allow each of you a singularitie. First, you Wine, shall 
 be in most request among Courtiers^ Gallants, Gentlemen, Poeticall 
 wits, Qui nielioris luti homines, being of a refined mould, shall choose as 
 a more nimble and actiue watering, to make their braines fruitfull, 
 fecimdi calices quern non? but so as not confin'd to them, nor limitting 
 them to you, more then to exhilarate their spirits, and acuate their 
 inuentions. 381 
 
 You Beere, shall bee in most grace with the Citizens, as being a 
 more stayed Liquor, fit for them that purpose retirement and grauitie, 
 that with the Snaile carries the cares of a house and family with them, 
 tyed to the atendance of an illiberall profession, that neither trot nor 
 amble, but haue a sure pace of their owne. Bos las sus fortius fi git pedem, 
 The black Oxe has trod vpon their foot: yet I bound you not with the 
 Citie, though it bee the common entertainement, you may bee in 
 credit with Gentlemens Cellars, and carry reputation before you from 
 March to Christmas-tide I should say; that Water should forget his 
 Tide. ' 391 
 
 You Ale I remit to the Countrie as more fit to liue where you were 
 bred: your credit shall not be inferiour, for people of all sorts shall 
 desire youre acquaintance, specially in the morning, though you may 
 be allowed all the day after: the Parson shall account you one of his 
 best Parishioners, & the Church wardens shall pay for your companie, 
 and drawing their Bills all the yeere long, you shall bee loued and 
 maintained at the Parish charge till you be old, bee allowed a Robin- 
 hood, or Mother Red-cap, to hang at your doore, to beckon in Custom- 
 ers: and if you come into the Citie, you may be drunke with pleasure, 
 but neuer come into the fashion. At all times you shall haue respect, 
 but ith Winter Morning without comparison. How doe you like my 
 censure now? 403 
 
 Ale. Water has a deepe iudgement. 
 
 Wai. And yet the world sayes sometimes Water is shallow: nay, 
 lie see you shake handes, and tie a new knot of friendship. 
 Ale. We are henceforth brothers. 
 
Ale, and Tobacco -^c 
 
 Wine. Stay, who's here? 
 Enter Tost, Sugar, and Nutmeg: Tost whetting a knife on his shooe. 
 
 Tost. I tell thee, Sugar, I am now friends with thee. But if it bee 
 as you say ^^^ 
 
 Wat. What's the matter? 
 
 Ale. Let's obserue him a little, Tost is angry. 
 
 Nut. What need you be so hote, Tost? 
 
 Tost. Hote? tis no matter, Sugar: you will iustifie that Wine and 
 Beere offered this wrong vnto Ale. 
 
 Sug. I know not whose pride began; but I was sorry to see Wine, 
 Beere, and Ale at such odds. 
 
 Tost. Ods quotha? I do meane to be euen with some body. 
 
 Nut. An euen Tost shewes well, ' 420 
 
 Tost. They shall find that Ale has those about him that are not 
 altogether dowe. 
 
 Sug. Thou hast been baked. He sweare. 
 
 Nut. And new come out of the Ouen too, I thinke: for he is very 
 fierie. 
 
 Tost. Ale must not be put downe so long as Tost has a crum of life 
 left. Beere too? 
 
 Nut. What doe you meane to doe with your knife. Tost? that will 
 scarce cut Beere and 'twere buttered. 
 
 Tost. Come not neere me, Nutmeg, least I grate you, and slise 
 you: Nutmeg, doe you marke? 43I 
 
 Wine. Let's in, and make 'em friends. How now Tost? 
 
 Tost. Tis all one for that: Oh, are you there? pray tell me which 
 of 'em ist? 
 
 Ale. Is what? 
 
 Nut. Why they are friends: what did you meane Sugar, to make 
 Tost burne thus? 
 
 Ale. No such matter. '■ 
 
 Tost. You will not tell me then. Harke you Beere, March-Beere, 
 this way a little. 44O 
 
 Beere. What dost thou meane to doe with thy knife? 
 
 Tost. I must stirre you a little Beere: what colour had you to 
 quarrell with my Master? 
 
36 Wine, Beere, 
 
 Beere. Ale. We are sworne brothers. 
 
 Ale. We were at difference, and Wine too. but — 
 
 Tost. Wine too But, but me no buts, I care not a strawe for his 
 buts; dee here sir, doe you long to be Graues Wine? 
 
 Wine. We are all friends. 
 
 Water. I, I, all friends on my word, Tost. 
 
 Tost. Fire and water are not to bee trusted, away new Riuer, away, 
 I wash my hands on thee. 45 1 
 
 Ale. Come hither againe, Tost. 
 
 Tost. Ouer head and eares in Ale. 
 
 Wine. How comes this about. Sugar? 
 
 Sug. The truth is, sir, I told him of some difference betweene you, 
 for he and I had been fallen out, and I had no other securitie to put in 
 for my selfe, then to put him vpon some body else. 
 
 Nut. Nutmeg durst scarce speake to him, hee was ready to put me 
 in his pocket. 
 
 Tost. I am coole agen: I may beleeue you are friends; then I am 
 content to put vp. Puts vp his knife. 461 
 
 Sugar and Nutmeg, come, we be three. 
 
 Sug. Let's be all one rather: and from hencefoorth since they are 
 so well accorded, let's make no difference of our Masters, but belong 
 to 'em in common: for my part, though I wait vpon Wine, it shall not 
 exempt my attendance on Beere, or Ale, if they please to command 
 Sugar. 
 
 Tost. A match. I am for any thing but Water. 
 
 Nut. And I. 469 
 
 Sug. But my seruice shall be ready for him to. Water and Sugar I 
 hope, may be drunke together now and then, and not bee brought 
 within compasse of the Statute, to bee put ith stockes for't, 
 
 Wat. Godamercy Sugar with all my hart, I shall loue thy company, 
 for I am solitary, and thou wilt make mee pleasant. Stay. 
 
 Musicke. 
 
 Harke Musicke? Oh some friends of mine, I know 'em, they often 
 come vpon the water: let's entertaine the ayre a little, neuer a voice 
 among you? 
 
Ale, and Tobacco 37 
 
 The Song. 
 
 Wine. / louiall Wine exhilarate the heart. 480 
 
 Beere. March Beere is drinke for a King. 
 
 Ale. But Ale, bonny Ale, with Spice and Tost, 
 
 In the Morning's a daintie thing. 
 „, j Then let vs be merry, wash sorrow away, 
 
 I Wine, Beere, and Ale, shall be drunke today. 
 
 Wine. / generous Wine, am for the Court. 
 
 Beere. The Citie calls for Beere. 
 
 Ale. But Ale, bonny Ale, like a Lord of the Soyle, 
 
 In the Countrey shall domineer e. 
 p, f Then let vs be merry, wash sorrow away, 490 
 
 ( Wine, Beere and Ale shall be drunke today. 
 
 Water. Why, now could I dance for ioy. 
 
 Ale. Now you talke of dancing, Wine, tis one of your qualities, 
 let's pay the Musicians all together: wee haue often made other men 
 haue light heads and heeles, there's no hurt a little in tripping for our 
 selues, what say you? 
 
 Beere. Strike vp Piper. 
 
 Wine. Lustily, make a merry day on't; nay, leaue out none, at 
 Dancing and at Foot-ball, all fellowes. 
 
 Enter Tobaco. 500 
 
 Tobaco. Be your leaue gentlemen wil't please you be here 
 
 sir? 
 
 Wine. Who's this Tobaco? 
 
 Beere. Why comes he into our company? 
 
 Tobaco. I do heare say there is a controuersie among you, 
 
 and I am come to moderate the businesse. 
 
 Ale. It shannot need, wee are concluded sir. 
 
 Water. Your name is Tobaco I take it. 
 
 Tobaco. No sir you take it not deesee, tis I that take it. 
 
 Wine. But wee take it very ill, you should intrude your selfe into 
 our mirth. 511 
 
 498 Leaue. Misprinted leane. 
 
 500-676 Enter Tobacco strike us dead. Omitted ed. 1629. 
 
38 Wine, Beere, 
 
 Water. I did guesse, by the chimney your nose that you might 
 stand in neede of water, to quench some fire in your kitchin. 
 
 Tobaco. Hoh? Water. Spets. 
 
 Water. He has spit me out already Exit. 
 
 Tobaco. Sugar tost and nutmeg, puh. vanish. 
 
 Wine. He has blone away the spice too. Ex. S. t. n. 
 
 Tobaco, Now, doe you not know mee what do yee stand at 
 
 gaze Tobacco is a drinke too. 
 
 Beere. A drinke? 520 
 
 Tobaco. Wine, you and I come both out of a pipe. 
 
 Ale. Prethee go smoke somewhere else, we are not couetous of your 
 acquaintance. 
 
 Tobaco. Do not incense me, do not inflame Tobacco. 
 
 Wine. We do not feare your puffing sir, and you haue any thing to 
 say to vs be brief e and speake it. 
 
 Tobaco. Then briefely and without more circumstance 
 
 not to hold you in expectation. 
 
 Wine. Heida, this is prolixity it selfe. 
 
 Beere. Oh sir his words are not well dyed in his mouth. 530 
 
 Ale. Or his vnderstanding is not sufficiently lighted yet giue him 
 leaue I pray. 
 
 Tobaco. I do come , 
 
 Wine. Not yet to the purpose methinkes. 
 
 Tost. And I do meane 
 
 Beere. Somewhat wo'd heare out. 
 
 Tobaco. And I entend 
 
 Ale. Yet againe, thinke, thinke, till tomorrow, wee may chance 
 meet agen. 
 
 Tob. Stay, I command you stay. 540 
 
 Wine. How, you command vs by whose autority? 
 
 Beere. That must be disputed. 
 
 Tob. Attend my argument; The soueraigne ought to comand, I 
 am your soueraigne, the soueraigne drinke Tobaco. Ergo. 
 
 514 Spets. Printed in roman type and without capitalization in eds. 1630 and 1658. 
 517 Ex. S. t. n. Ed. 1658 Exit S. T. N. 
 522 Not, Omitted ed. 1630. 
 531 Giue. Misprinted gine. 
 
Ale, and Tobacco 39 
 
 Wine I see Tobacco is sophisticated. 
 
 Tob. I ought to command you, and it will become your duty to 
 obey me 
 
 Bee. You our soueraigne a meere whiffler. 
 
 Tob. I say agen I am your Prince, bow, and doe homage. 
 
 Al. You haue turnd ouer a new leafe Tobacco. 550 
 
 Wine. You are very high Tobacco, I see ill weedes grow apace. 
 
 Bee. Most high and mighty trinidado. 
 
 Wine. For whose vertue would you be exalted, if it shall please 
 your smoaky excellence? 
 
 Tob. Not yours, — nor yours — nor yours — but altogether, all the 
 vertues which you seuerally glory in, are in me vnited, — looke not so 
 coy, Call water to spread your faction, and you are but like the 
 giddy elements changing and borrowing creatures, whilst I Tobacco 
 am acknowledged a Heauenly quintessence, a diuine herbe. 
 
 Bee. Tobacco you are out. 560 
 
 Al. After what rate is this an ounce? 
 
 Wine Let vs beseech your excellence, for lesse title wee must not 
 giue you hauing so much vertue as you pretend, to let vs vnderstand 
 some of your particular graces and qualities. 
 
 Bee. I pray discourse a litle, what's the first? 
 
 Tob. You haue nam'd it tis discourse which you are so 
 
 farre from being able to aduance that you destroy it, in all men when 
 you are most accepted, when my diuine breath mixing with theirs, 
 doth distill eloquence and oracle vpon the tongue, which moueth with 
 such deliberation — words flowing in so sweet distinction, that many 
 eares are chained to the lips of him that speaketh. 571 
 
 Da puer accensum selecto fictile Paeto, 
 vt Phcebum ore bibam. 
 
 Ale. And yet wee are not inchanted with the musick of your pipe 
 to dance after it. My most excellent discourser. 
 
 Bee. And a helpe for the imperfections of nature. For when a 
 man ha's not wit enough to expresse himselfe in words, you being 
 taken, do presently helpe him, — to spit forth gentleman like. 
 
 Al. Indeed the most part of our common complement is but 
 smoke, and now I know how Gentlemen come by it. 580 
 
 Tob. Thus swine do value pearle 
 
40 
 
 Wine, Beere, 
 
 Wine. But as you haue the eloquence of Vlysses, I suppose you 
 haue not the strength of Aiax, wee should moue in great feare, if you 
 were valiant, I hope you are but weake Tobacco. 
 
 Tob. Weake? whose braine hath not felt the effects of my might- 
 inesse? He that opposes me shall find me march like a tempest, 
 waited vpon with lightening and black Cloudes. 
 
 Wi. Here is no cracke. 
 
 Bee. Yet he thunders it out. 589 
 
 Ale. Yes yes, I remember I haue heard him reported a solidier, 
 and once being in company with a knap-lack man a companion of his, 
 I obtained a coppy of his military postures, which put downe the pike 
 and pot-gun cleane, pray obserue 'em. 
 
 13. Elbow your pipe. 
 
 14. Mouth your pipe. 
 
 15. Giue fire. 
 
 16. Nose your Tobacco. 
 
 17. Puffe vp your smoake. 
 
 18. Spit on your right hand. 
 
 19. Throw off your loose ashes. 660 
 
 20. Present to your friend. 
 
 21. As you were. 
 
 22. Cleanse your pipe. 
 
 23. Blow your pipe. 
 
 24. Supply your pipe. 
 
 Exercise this discipline till you stinke, defile the roome, offend 
 your friends, destroy your liuer and lungs, and bid adiew to the world 
 with a scowring fluxe. 
 
 To. You haue a good memorie 
 
 Ale. I'me sure Tobacco will spoyle it. 610 
 
 Tob. These are but childish inuentions. 
 
 Wine. They are most proper to illustrate your magnificence, for 
 howsoeuer you pretend that you conuerse with men, it is apparant, , 
 that you make men children agen, for they that vse you most familiar- 
 ly, doe but smoake all the day long. 
 
 To You dishonour me. 
 
 598 Your. Misprinted You. 
 
 1. 
 
 Take your seale. 
 
 2. 
 
 Draw your box. 
 
 3. 
 
 Vncase your pipe. 
 
 4. 
 
 Produce your rammer. 
 
 5. 
 
 Blow your pipe. 
 
 6. 
 
 Open your box. 
 
 7. 
 
 Fill your pipe. 
 
 8. 
 
 Ramme your pipe. 
 
 9. 
 
 Withdraw your Rammer. 
 
 10. 
 
 Returne your rammer. 
 
 11. 
 
 Make ready. 
 
 12. 
 
 Present. 
 
Ale, and Tobacco 41 
 
 Wine. Not so much as Gentlemen dishonour themselues, to turne 
 common pipers: but if you haue any more conditions, pray enrich vs 
 with the story. 
 
 Tob. I am medicinall. 620 
 
 Be. How? 
 , To. And preserue the health of man. 
 
 Wine. I hope they are not come to drinke healthes in Tobacco. 
 
 To. I repaire the bodies which your immoderate cups haue turnd 
 to fennes and marishes. The wisest Phisitians prescribe my vse, and 
 acknowledge me a salutary herbe. 
 
 Ale. Phisicians are no fooles, they may commend you for their 
 profit, you are one of their herbingers to prouide for a disease; yet 
 howsoeuer you call them wise, and glorie in their flatteries, they make 
 but a very simple of you. 630 
 
 Wine. Methinkes this should cut Tobacco. 
 
 Tob. Not at all, I am aboue their poore derision; at my pleasure I 
 could reuenge their malice, for I am in fauour, and growne to be the 
 delight of poets and princes. 
 
 Bee. How poets and princes? Ego b° Rex mens, a stopper for 
 Tobacco, wee shall haue pretty treason anon else. 
 
 Tob. Does it scruple your iudgement Mr. small beere that I say 
 poets and Princes? I am not to learne their distinction, nor doth it 
 take from any allegiance, they are both sacred names: yet I am con- 
 fident it is easier for a poet not borne to soueraigntie to aspire to a 
 kingdome, then for a King not borne with fancie to be made a poet. 
 I mentioned these names, not in their methode and order, but to shew 
 my grace with them, that are most able to punish insolence, such as 
 your's, 644 
 
 Ale. How the vapour rises. 
 
 Wine. This ruffler may be troublesome, wee were best admit him 
 to our society, he is a dry companion, and you may obserue, how he 
 hath insinuated already with the greatest; the ladies begin to affect 
 him, and he receiues priuate fauors from their lips, euery day he 
 kisseth their hands, when he appeares in a faire pipe; though wee 
 allow him not a prioritie, for our owne sakes, let vs hold correspond- 
 
 636 pretty. Ed. of 1658, petty. 
 
42 Wine, Beere, 
 
 ence with him, least he seduce men to forsake vs, or at least to make 
 vse of vs but for their necessity. 653 
 
 Ale. Hum! he sayes well, now I better consider 'twere safest to 
 vse him kindly, least by degrees he ouerthrow vs, and iett vpon our 
 priuiledges, for I heard a gentleman t'other day affirme, he had fasted 
 3 or 4 dayes, only with Tobacco. 
 
 Wine. Beside, if we continue friends he will be a preparatiue for 
 our reception, without vs he may subsist, but with him wee are sure of 
 liberall enter tainement. 660 
 
 Beere. I am conuerted. Wine you are the best orator, speake for vs. 
 
 Wiite. Tobacco, you are a good fellow, all ambition laid aside, let 
 vs embrace as friends; excuse vs, that wee haue been a little merry 
 with you, wee acknowledge you a gentle drink and you shall haue all 
 the respect will become Wine, Beere, or Ale to obserue you with: 
 what should we contend for primacie, quarrell about titles, which if to 
 any wee acknowledge most properly belong to you, for they are all 
 but smoake. Let vs vnite and be confederate states for the benefit of 
 mens low countreyes. Hue and loue together. Wine doth here enter 
 into league with Tobacco. 670 
 
 Be. And beere. 
 
 Al. And Ale. 
 
 Tob. Are you in earnest? why then Tobacco is so farre from pride, 
 that he vowes to serue you all, and when I leaue to be a true friend, 
 may fire consume me, and my ashes want a buriall. 
 
 W. B. A. and when wee falsifie, may thunders strike vs dead. 
 
 The Dance. 
 
 In which wine falling downe, one taketh sugar by the heeles and seemes 
 to shake him vpon Wine. 
 
 In the second passage, beere falleth, and 2 take Nutmegge, and as 
 it were to grate him ouer beere. 681 
 
 656 Gentleman. Misprinted geutleman. 
 669 Mens. Misprinted meus. 
 
 677 The Dance. Ed. 1629, A Daunce, wherein the several! Natures of them all is figured and 
 represented. Ed. 1658 They Dance. 
 
Ale, and Tobacco 43 
 
 In the Third Ale falleth, one bringeth in a Chafendish of coles, 
 and another causeth Tost to put his breech to it; afterwards it is 
 clapt to Ale's mouth, and the Dance concludeth, 
 
 FINIS. 
 
44 Wine, Beere, 
 
 NOTES 
 
 Title Page. Siccis omnia. Horace, Odes, 1, xviii, 3. 
 
 5. Oh sometimes without Sugar. The mixing of sugar with wine was apparently 
 confined to England. FynesMoryson (Itinerary, ed. 1907, iv, 176) remarks that he 
 has never observed sugar used for the purpose in any other country. "And be- 
 cause the taste of the EngUsh is thus delighted with sweetnesse," Moryson con- 
 tinues, "the Wines in Tavernes (for I speake not of Merchants or Gentlemens 
 Cellars) are commonly mixed at the iiUing thereof, to make them pleasant." The 
 practice of sugaring wine is often commented on with surprise by foreign travellers 
 in England. (See Rye, England as seen by Foreigners, p. 190.) From the present 
 passage it appears that sugar was at this time customarily used to disguise the 
 taste of inferior or adulterated wines. Yet Falstaff, who protested against adul- 
 terants ("There's lime in this sack, too!"), habitually drank sweetened wine. 
 
 16. to the honest Coitntrey waw Ale too. Cf. Greene, Looking Glasse {or London 
 and England, I, ii, 247-8 {Works, ed. CoUins, I): "for marke you, sir, a pot of Ale 
 consists of four parts, Imprimus the Ale, the Toast, the Ginger, and the Notmeg." 
 
 41. Whafs that a Ghost? The remark suggests the costume, half white and 
 half pale-blue, of the character Sugar in Maeterlinck's The Blue Bird. 
 
 51. / have knowne him solde for two pence. The price of sugar at this time 
 ranged from Is 8d per pound for "fine" sugar to about Is for ordinary sugar. 
 (See Rogers, A History of Agriculture and Prices, V, 472.) Later in the seventeenth 
 century, with the importation of sugar from the new world, prices greatly decreased. 
 The little paper of sugar sold in the taverns to the drinkers doubtless contained less 
 than an ounce of the precious stuff, if we are to allow mine host a fair profit above 
 the current price. 
 
 56. you come from Barbary your selfe. The north and west coasts of Africa, 
 with the adjacent islands, were an important source of sugar importation into 
 England at this time, though the trade with the new world had already begun. 
 (See Ellen D. Ellis, An Introduction to the History of Sugar as a Commodity, Bryn 
 Mawr College Monographs.) Some sugar bought by Lord Spencer in 1605 at the 
 high price of 2s the pound is designated in the records as " Barbary sugar." (Rog- 
 ers, A History of Agriculture and Prices, V, 462.) 
 
 76. / heare say you runne a wenching. The fondness of the EngHsh and es- 
 pecially of EngHsh women for sweets of every kind was a source of wonder to 
 foreigners. The Spaniards who came to England with the embassy of the Count 
 Villamediana in 1603 won the favor of the fair ladies of Canterbury by presenting 
 them through their lattices with sweetmeats, "which they enjoyed mightily; for (it 
 is remarked) they eat nothing but what is sweetened with sugar." (Rye, England 
 as seen by Foreigners, p. 190.) Cf. the allusion to eating sugar on toast (above, 
 1. 66), and drinking it with water (above, line 470). The effect on the teeth of 
 a too liberal indulgence of this taste is often alluded to. Thus the German, Paul 
 Hentzner, describing the person of Queen Elizabeth, remarks the blackness of her 
 teeth, "a defect the English seem subject to, from their too great use of sugar." 
 (Quoted by Rye, ib., 104.) 
 
Ale, and Tobacco 45 
 
 91. None are made without me. "Banquet" in Elizabethan and Jacobean 
 usage meant a course of sweets. 
 
 97. / was wrapt in hers, oth Christian day. An amusing illustration of the 
 use of sweets at christenings is afforded by Middleton, A Chaste Maid in Cheapside, 
 III, ii {Works, ed. Bullen, IV, 152 fif.), where the gossips are regaled on comfits 
 at Sir W. Whorehound's expense : 
 
 "Allwit: These women have no consciences at sweet meats 
 Where'ere they come, see and they've not culled out 
 All the long plums too, they've left nothing here 
 But short wiggle-tailed comfits, not worth mouthing: 
 No mar'l I heard a citizen complain once 
 That his wife's belly once broke his back." 
 
 Cf. also Dekker's Bachelors' Banquet, cap. iii (quoted by Bullen, loc. cit.): "Con- 
 sider then what cost and trouble it will be to have all things fine against the christen- 
 ing day. What store of sugar, biscuits, comfits, and daraways, marmalade and 
 marchpane, with all kinds of sweet suckets and superfluous banqueting stuff, 
 with a hundred other odd and needless trifles, which at that time must fill the pock- 
 ets of dainty dames." 
 
 118. I am their life, their Genius, the Poeticall fire. Cf. Rsindolph, Aristippus: 
 "But Sack is the life, soul, and spirits of a man, the fire which Prometheus stole, 
 not from Jove's Kitchen, but from his Wine-celler, to increase the native heat and 
 
 radical moisture, \vithout which we are but drowsie dust, or dead clay 
 
 but in Poetry, it is the sole predominant quality, the sap and juice of a verse, 
 yea the spring of the Muses is the fountain of Sack; for to think Helicon a Barrel 
 of Beer, is as great a sin as to call Pegasus a Brewer's Horse." 
 
 121. you are come up of late, Cf. Randolph, Aristippus "1st Scholar: Why, 
 truly, his price has been raised of late, and his very name makes him dearer. 
 2tui Scholar: A diligent lecturer deserves eight pence a pint tuition." 
 
 Wine had advanced steadily in price since the middle ages, as may be seen 
 in the successive edicts regulating its sale. Rogers (A History of Agricidtnre and 
 Prices V, 476) gives the average prices for the three principal classes of wine- 
 claret, sack, and muscadel-for the twenty years 1623-1642 at 2s 3d, 3s 7d, and 4s. 
 The year 1621-2 saw a jump of 4d per gallon in the price of claret and sack. In 
 1623-4 both kinds had gone down again to 2s 4d and 3s 8d respectively. Then in 
 1624-5, they again rose to 2s 8d and 4s. It is probably this last advance which is 
 specifically referred to in the text. In the years 1627-9 a marked rise took place 
 in the prices of sack and muscadel (including malmsey, canary, and other sweet 
 wines.) This would coincide with the allusions in Aristippus (Aristippus was a 
 cant term for canary wine). Too much reliance must not be put upon the details 
 of Roger's tables. The general rise in the price of wine through these years is, of 
 course, estabhshed. 
 
 128. From France, from Spaine, from Greece. This is a pretty accurate enum- 
 eration of the chief sources of wine importation into England in the order of their 
 
46 Wine, Beere, 
 
 importance. On Greek wines in England see Cyrus Redding, A History of Modern 
 Wines, 25 and 290. Cf. Howell, Familiar Letters, II, liv: "In Greece there are no 
 wines that have bodies enough to bear the sea for long voyages; some few muscadells 
 and malmsies are brought over in small casks." For an account of the wines used 
 in England in the sixteenth century see William Turner's A New Book of the Nature 
 and Properties of Wines, 1568, extract giving Enumeration of English wines, in 
 Arber, An English Garner II, 113. 
 
 130. Who dares denie that I have beene a travailler. This argument and Beer's 
 answer, "Art thou not kept under lock and key," appear in one form or another 
 in many of the continental debates of Wine and Water. Cf. Deniidata Veritate 
 (DuMeril, Poesies Inediles p. 305), where Water says to Wine 
 
 Propter tuam pravitatem 
 Nullam habes libertatem 
 
 domos tenes parvulas: 
 Ego magna sum in mundo; 
 Dissoluta, me dlffundo 
 
 Per terrae particulas. 
 
 In the French Debat of the fifteenth century the argument is modified. Wine 
 impUes that it is shut up as being the more precious liquor, while water is left at 
 large because it is valueless. {Le debat du vin et de I'eau in Le debat de deux demoysel- 
 les, p. 133.) 
 
 "le suis garde en grans vesseaulx 
 
 En queus, en muys et en tonneaulx; 
 
 Tu cours partout comme folle." 
 
 So also in the more popular French and German versions of the debate. 
 
 138. Away hop of my thumbe. In Lingua, which is generally supposed to have 
 been revived and acted at Cambridge between 1616 and 1620 {Modern Language 
 Review, III, 146, and Retrospective Review, XII, 2>i), the part of Small Beer was 
 taken by a diminutive boy. The character Beere in the present play is scornfully 
 addressed as " Small Beere " above, 1. 637. 
 
 146. the very preparative to a thousand rapes and murders. Cf. Demidata 
 Veritate, (DuMeril, Poesies Inedites) : 
 
 Et qui tuus est amator 
 Homicida fornicator" etc. 
 
 161 . Did not every man call you Bastard tother day. Bastard was a sweet Spanish 
 wine, resembling muscadel in flavor; the word was sometimes applied to any 
 sweetened wine. The New English Dictionary cites Surfl. and Markh. Country 
 
 Farm. (1616) 642: "Bastards seeme to me to be so called, because 
 
 they are oftentimes adulterated and falsified with honey." 
 
 207. old women and elder brothers, i. e. to the disgust of their next heirs. 
 
Ale, and Tobacco 47 
 
 219. To wash Bootes. Cf. Shakespeare, I Henry IV, II, i, 74: "Chamber- 
 lain. What, the commonwealth their boots? will she hold out water in foul way? 
 Gadshill. She will, she will; justice hath liquored her." 
 
 235. an underlaid cobbler. Underlay = to mend the sole of a shoe. 
 
 241. Jones Ale's new. A proverb. A ballad entitled "Jones (i.e. Joan's) 
 ale is newe" is entered in the Stationers' Register, 16 October, 1594. Copies 
 are preserved among the Douce Ballads in the Bodleian Library (T, fol. 99b and 
 1, fol. 105b) See also Ebsworth's note in Ro.xburghe Ballads, VII, 164. 
 
 256. fin' d for Alderman, i. e. paid composition as the price of escaping the 
 duties of office, cf. Pepys's Diary for Dec. 1, 1663: "Mr. Crow hath lined for 
 Alderman." 
 
 257. Old of nicke and froth. "Nick" is the false bottom of a beer-can. The 
 phrase "nick and froth" was applied to a means of cheating in ale houses. The 
 contents of the tankard was diminished from the bottom by the nick and from the 
 top by an undue amount of froth. Between the two the hapless drinker had 
 indeed small beer. See New English Dictionary under "nick" for quotations. 
 
 270. printed Cum privilegio. The allusion may derive special point from the 
 perennial dispute between the Cambridge printers and the Stationers' Company of 
 London. The controversy was particularly active during the first quarter of the 
 seventeenth century. See Cooper, Annals of Cambridge, III, 138, 142, 161, etc. 
 273. Alexander Ale. cf. Taylor, Drinke and Welcome (1637): "Some there 
 are that affirme that Ale was first invented by Alexander the Great." 
 
 285. / Wine, comfort and preserve. Cf. Dcniidata (DuMeril, Poesies Inedites, 
 p. 307.) 
 
 Per me senex juvenescit; 
 Per te ruit et senescit 
 
 Juvenum lascivia: 
 Per me mundus reparatur etc. 
 
 and Le debat du vin et de I'eau {Le debat de deux demoyselles, p. 133.) 
 
 "Le cueur de I'homme tien ioyeulx, 
 Je conforte les hommes vieux; 
 Tu am^gris et ie tiens gras." 
 
 Also Hans Sachs, Das slreit-gesprcch zwischen dem wasser und dem wein (Works. 
 ed. A. von KeUer, IV, 252.) 
 
 "Mein gegenwart die leut erfrewt. 
 Ich mach schon roszlet das antlitz, 
 Vertreib sorg, angst, triibsal und schmertzen, 
 Sampt alien unmut ausz dem hertzen." 
 
 291. nil spissius ilia. The epigram from which these lines are quoted is 
 attributed by Camden {Britannia, 1600, p. 495) and DuCange {Glossarium under 
 cerevisia) to Henricus Abrincensis (Henri d'Avranches), an obscure court poet 
 
48 Wine, Beere, 
 
 of the time of Henry III of England. The verses, as given by Camden, are as 
 follows : 
 
 Nescio quod Stygiae monstrum conforme paludi, 
 Cervisiam plerique vocant; nil spissius ilia, 
 Dum bibitur; nil clarius est dum mingitur; unde 
 Constat quod multas feces in ventre relinquit. 
 
 A translation of these verses, apparently independent of that in the text, occurs' 
 in Randolph's Aristippus (Works, ed. Hazlitt, I, 21), where the poem is ascribed 
 to Ennius: "There is a drink made of the Stygian Lake," etc. For a remote 
 parallel to these verses see the Epigram of the Emperor Juhan, cited above, p. 10. 
 Cf. Victor Hehn, Kulturpjlanzen iind Hauslhicre in ihrem Uebergang aiis Asien. 
 Berlin, 1887, 5th edition, p. 123. 
 
 304. Ale from Alo. The derivation appears to have been a commonplace. 
 Cf. Randolph, The High and Mighty Commendation of the Virtue of a Pot of Good 
 Ale {Works, ed. Hazhtt, II, 666) : "O ale, ab alendo, thou liquor of life." 
 
 315. But thou art come downe of late to a glasse, Wine. Rather because of the 
 statute against drunkenness than because of the rise in price. 
 
 363. you are all my kinsmen. Cf. Howell, Familiar Letters, II, xliv: "But 
 we may say, that what beverage soever we make, either by brewing, by distillation, 
 decoction, percolation, or pressing, it is but water at first: Nay, Wine itself is but 
 Water sublim'd." 
 
 375. Water shall allow each of you a singularitie. For the form of the derision 
 and its resemblance to the judgment in Work for Cullers, etc., see Introduction, 
 p. 15, note. Cf. Johnson's dictum: "Claret is the liquor for boys; port for men; 
 but he who aspires to be a hero must drink brandy." (Boswell's Life of Johnson, 
 ed. HiU, III, 381). The apportionment of wine to the court, beer to the city, and 
 ale to the country is in accordance with tradition and fact. Cf. Fynes Moryson, 
 Itinerary, Ed. of 1907, IV, 176: "Clownes and vulgar men onely use large drinking 
 of Beere or Ale, how much soever it is esteemed excellent drinke even among 
 strangers; but Gentlemen garrawse onely in Wine." 
 
 378. nimble and active watering, to make their braines fruitfull. Does the author 
 have in mind Falstaff's famous panegyric on sack (II Henry IV, IV, iii, 92 ff)? "It 
 ascends me into the brain; dries me there aU the foohsh and dull and crudy vapours 
 which environ it; makes it apprehensive, quick, forgetive, full of nimble, fiery and 
 delectable shapes; which deliver'd o'er to the voice, the tongue, which is the birth, 
 
 becomes excellent wit Hereof comes it that Prince Harry is valiant; 
 
 for the cold blood he did naturally inherit of his father, he hath, Uke lean, sterile, 
 
 and bare land, manur'd, husbanded, and till'd " Cf. also Randolph's 
 
 Aristippus, quoted above, note to line 118, where there is also a resemblance to 
 Falstaff's soUloquy. 
 
 379. Fecundi calices quem non. Horace, Epistles, I, v, 19: " Fecundi calicos 
 quern nonfecere disertum." 
 
Ale, and Tobacco 49 
 
 386. Bos lassus fortius jiglt pcdeni. Hieronym. Ep. 102 ad Augiistinum (Corp. 
 Script. Eccles. vol. 55, p. 236), where the sentence is quoted as a proverb, warning 
 the young man not to provoke the old to combat. 
 
 390. from March to Christmas. The best beer was brewed in March. Cf. 
 Harrison, A Description of England, 1577, Bk. Ill, cap. I. (Elizabethan England, 
 ed. Lothrop Withington, p. 93): "The beer that is used at noblemen's tables, 
 in their fixed and standing houses, is commonly of a year old, or peradventure of 
 two years tunning or more; but this is not general. It is also brewed in March 
 and therefore called March-beer; but for the household it is not usually under a 
 month's age." Cf. also " March-Beere," below. The excellence of Enghsh beer 
 is well attested. Cf. Rye, England as seen by Foreigners, pp. 9, 79, 109, and 190. 
 
 Andrea Trevisano, writing in 1497, says that where both wine and beer were 
 served the latter was often preferred (ib. xHv). 
 
 395. the parson shall account you one of his best parishoncrs. The allusion 
 is to the so-called church-ales, held for the purpose of raising parish funds. Ale 
 was brewed for the occasion and sold to the parishioners. Cf. Stubbs, Anatomy of 
 Abuses, 1595 (Ed. Furnivall, New Shakespeare Soc, Ser. VI, No. 6, p. 150): "In 
 certaine Townes, where drunken Bachus beares all the sway against a Christmas, 
 an Easter, Whitsonda}-, or some other time, the Church-wardens (for so they call 
 them) of every parish, with the consent of the whole Parish, provide half a score 
 or twentie quarters of mault, whereof some they buy of the Church-stock and some 
 is given to them of the Parishioners themselves, everyone conferring somewhat, 
 according to his abihtie; which mault being made into very strong ale or beere, 
 is set to sale, either in the church, or some other place assigned to that purpose. 
 Then, when the Nippitatum, this Huf-cap (as they call it) and this nectar of lyfe, 
 is set abroche, wel is that he can get the soonest to it, and spends the moste at it, 
 
 he is counted the godhest man of all the rest For they repaire their 
 
 churches and chappels with it; they buy books for service, cuppes for the cele- 
 bration of the Sacrament, surplesses for Sir Ihon, and such other necessaries." 
 
 398. bee allowed a Robin-hood, or Mother Red-cap to hang at your doore. " Robin 
 Hood" and "Mother Red Cap" are not uncommon as inn names in England today. 
 There are or have been "Robin Hood" inns at Wisbach, Lithington, Gt. Cres- 
 singham. Cherry Hinton, and Thetford in Cambridgeshire. Mother Red 
 Cap signes are noted by Tarwood and Hotten (The History of Signboards) as 
 occurring in upper HoUoway; Camden Town; Blackburn, Lancashire; etc. 
 The authors quote Braithwaite, Whimsies of a New Cast of Characters (1631) : 
 "He (the painter) bestows his pencils on an aged piece of decayed canvas, in a 
 sooty alehouse where Mother Red-cap must be set out in her own colours." The 
 name is common in folk lore. A Mother Redcap appears as the chief story teUing 
 gossip of Drayton's Moon-Calf {Poems, ed. Chalmers, English Poets, IV, 130 fT.) : 
 
 Amongst the rest at the World's labour, there. 
 Four good old women most especial were. 
 Who has been jolly wenches in their days, 
 Through all the parish and had borne the praise 
 
50 Wine, Beere, 
 
 For merry tales; one, Mother Redcap hight, 
 And Mother Owlet, somewhat ill of sight, 
 For she had burnt her eyes with watching late, 
 Then Mother Bumby, a mad jocund mate 
 As ever gossipp'd; and with her there came 
 Old gammer Gurton. 
 
 422. dowe, Dough. i 
 
 429. that mil scarce cut Beere and 'twere buttered. "Buttered ale" was a familiar 
 drink in the seventeenth and eighteenth centuries. 
 447. Graves Wine. A pun on Vin de Graves. 
 
 450. New River. An artificial waterway west of the Sea, terminating in a 
 rcsen^oir on the outskirts of London. See B. Lambert, The History atul Survey of 
 London and its Environs, H, 31. 
 
 472. the statute. The reference is to "An Acte for repressinge the odious 
 and loathsome synne of Drunckenness," first passed under James I, recited and 
 enlarged at the opening of Charles II's reign (1625). See introduction, p. 7. 
 The law provided a fine or imprisonment in the stocks for each offense. See 
 Statutes of the Realme, I Car. I, c. iv. In much the spirit of this rather contemp- 
 tuous allusion is the following passage from Randolph's Aristippus: " Simplicissi- 
 mm: But (methinkes) there is one scrupulum: it seems to be actus illicitus that we 
 should drink so much, it being lately forbidden, and therefore contra fortnatn 
 statuti." 
 
 479. The Song. It is worth noting that the meter of this piece is apparently 
 inspired by that of the old drinking song, "Jolly Good Ale and Old": 
 "I cannot eat but little meat," 
 My belly is not good 
 But sure I think that I can drink 
 With him that wears a hood." 
 Randolph's poem, "The High and Mighty Commendation of the Virtue of a Pot 
 of Good Ale" (Works, ed. Hazlitt, II, 662), has obvious connections with the 
 same song: 
 
 "The hungry man seldom can mind his meat 
 (Though his stomach could brook a tenpenny nail) ; 
 He quite forgets hunger, thinks of it no longer. 
 If his guts be but sous'd with a pot of good ale." 
 
 512. the chimney your nose. Cf. the well-known anecdote of the serv^ant who, 
 upon seeing smoke issue from the nostrils of his master, endeavored to quench 
 the fire with a pot of ale. This story was told of Tarleton in 161 1 (See Shakespeare's 
 Jest-Books, ed. W. C. Hazlitt, 1864, ii, 211); it was later attached to the name of 
 Sir Walter Raleigh and has descended to posterity associated with him. (Cf. 
 Arber, Works of James I, English Reprints, p. 88.) The nose of the tobacco smoker 
 is not infrequently referred to as a chimney. Cf. Beaumont, Knight of the Burning 
 Pestle, I, iii: "Wife. Fie, this stinking tobacco kills me! would there were none 
 in England! — Now I pray, gentlemen, what good does this stinking tobacco do 
 you? nothing, I warrant you: make chimneys o' your faces!" 
 
Ale, and Tobacco 51 
 
 519. Tobacco is a drinke too. The expression "to drink tobacco" was in common 
 use. Henry Buttes, in his Diets Dry Dinner, 1599, calls tobacco a "dry drink." 
 
 545. / see Tobacco is sophisticated. The adulteration of tobacco was in the 
 seventeenth century and is today practiced for two purposes, to heighten the taste 
 and to cheapen. For the first use of adulterants cf. Jonson, The Alchemist, I, 
 iii, 21 ff., and Barclay, Nepenthes (1614): "They sophisticate and farde the same 
 (i. e. poor, tasteless tobacco) in sundrie sortes, with black spice, galanga, aqua 
 vitae, Spanish wine, anise" etc. For the second use of adulterants see Jonson, 
 Bartholomew Fair, II, ii, 27 (Ed. Alden, Yale Studies in English, 35): "Three pence 
 a pipe full, I will ha' made of all my whole halfe pound of tobacco, and a quarter 
 of a pound of coltsfoot, mixt with it too, to itch it out." Gf. the pamphlet entitled 
 The Perfuming of Tobacco and the Great Abuse committed in it (1611). 
 
 555. all the vertues. Cf. Thorius, Hymnus Tabaci (ed. of 1628, p. 9) : 
 
 " In primis non una subest natura stupendo 
 In foho: adversis dives virtutibus omnem 
 Exuperare fidem gaudet." 
 
 559. a heavenly quintessence, a divine herbe. Cf. Sharpham, The Fleire (1600) 
 (Ed. Hunold Nibbe, 1912, Hne 265): "the divine smoke of this Celestiall herbe." 
 "Divine" was a traditional epithet for tobacco. Cf. Spenser, Faerie Queene, III, 
 V, stanza 32: "Whether yt divine Tobacco were." Also Jonson, Every Man in his 
 Humour, III, ii: "Therefore it cannot be but 'tis most divine." Again, The 
 Metamorphosis of Tobacco (1602) (Reprinted by Collier, Illustrations of Early 
 English Literature) : 
 
 "There dids't thou gather in Parnassus clift 
 This precious herbe, Tabacco most divine." 
 
 According to Howell, Familiar Letters, III, vii, the Spaniards called Tobacco the 
 "holy herb." 
 
 567. You destroy it. Cf. the Wine and Water debates, in which this motive 
 is recurrent. E. g. Denudata Veritate (DuMeril, Poesies inedites, pp. 304-5. 173): 
 
 "Mensa pro te (i. e. Aqua) non ornatur; 
 NuUus per te fabulatur 
 
 In tui praesentia, 
 Sed qui prius est jocundus, 
 Ridens, verboque facundus, 
 
 Non rumpit silentia. 
 
 Tu (i. e. Vinum) scis linguas impedire 
 Titubando solet ire 
 
 Tua sumens basia; 
 Verba recte non discernens. 
 Centum putat esse, cernens 
 
 Duo luminaria." 
 
52 Wine, Beere, 
 
 572. Da puer accensiim. The quotation is from Hymnus T abaci by Raphael 
 Thorius, a French physician resident during the first quarter of the seventeenth 
 century in London. The poem was first pubhshed at Leyden in 1625, although it 
 had been written as early as 1610. The first London edition was published in 
 1627. The Unes are thus Englished in Peter Hausted's translation of 1651 : 
 
 "Fill me a Pipe (boy) of that lusty smoke 
 That I may drink the God into my brain." 
 
 Pactum was one of the common designations of tobacco in the seventeenth cen- 
 tury. It is said to have been the native term. A somewhat similar invocation to 
 Tobacco is to be found in The Metamorphosis of Tobacco (1602), a piece which 
 bears a considerable resemblance to Thorius's Hyvums. 
 
 The last part of book II of the Hymnus is devoted to Tobacco's power of in- 
 spiring eloquence and wit, and may have suggested the lines following the quo- 
 tation in the text, which are repeated here from the tobacco passage in the first 
 edition. But compare a similar passage in Sharpham's The Flcire, (1606), (Ed. 
 Hunold Nibbe, 1912), 1. 264: "Sure Ladies I must needes say ih' instinct of this 
 herb hath wrought in this Gentlemen such a divine influence of good words, excel- 
 lent discourse, admirable invention, incomparable wit: why I tel yee, when he 
 talkes, wisdom stands a mile off and dares not come neere him, for fear a should 
 shame her: but before he did use this Tobacco, a was arrantst Woodcock that ever 
 I saw." 
 
 591. A kfiap-Jack man. A misprint for knap-sack man? 
 
 592. A list of his military postures. A similar parody of the orders of drill is 
 given by Addison, Spectator, 102, where a school in the art of handling the fan is 
 described. "The Ladies who carry Fans under me arc drawn up twice a Day in 
 my great Hall, where they are instructed in the Use of their Arms, and exercised 
 in the following Words of Command, 
 
 Handle your Fans, 
 Unfurl your Fans, 
 Discharge your Fans, 
 Ground your Fans, 
 Recover your Fans, 
 Flutter your Fans." 
 
 In the rest of the essay each of these commands is explained. Cf. Tatler 52 and 
 Spectator 134 and 196. A hst of the actual "postures" in the exercise of the 
 musket is given in Robert Harford's, English Military Discipline, 1680, p. 2: 
 
 Shoulder j-our Musquet Blow off your loose Corns 
 
 Lay your right hand on your Musquet Cast about to Charge 
 
 Poise your Musquet Handle your Charger 
 
 Rest your Musquet Open it with your Teeth 
 
 Handle your Match Charge with Powder 
 
 Guard your Pan Draw forth j-our Scowrer 
 
 Blow your Match Shorten it to an inch against your right 
 
 Open your Pan Breast 
 
Ale, and Tobacco 53 
 
 Present Charge with Bullet 
 
 Give Fire Ram down Powder and Ball 
 
 Recover your Arms Withdraw your Scowrer 
 
 Clean your Pan with your Thumb Shorten it to a Handful 
 
 Handle your Primer Return your Scowrer 
 
 Prime your Pan Poise your Musquet 
 
 Shut your Pan with a full Hand Order your Musquet." 
 Cf. also the "Exercise of the Pikes," ib., p. 4. 
 
 610. I'me sure Tobacco will spoil it. The charge that tobacco weakens the 
 memory is made and answered by Thorius, Hymnus, pp. 30-31. The tobacco 
 drinker never fails to remember in what chest he laid his treasure, says the poet, 
 nor where his mistress has her dwelling. Furthermore, if tobacco did weaken the 
 memory learned men would not be so addicted to its use. 
 
 625. The wisest physicians prescribe my use. The virtues of tobacco as a 
 medicine were zealously advocated by some medical men and as hotly denied 
 by others. An elaborate treatise on the medicinal uses of tobacco was published 
 in 1626 by Johannes Neander of Bremen, entitled Tabacologla, hoc est Tabaci sen 
 Nlcotlanae Descrlptlo Medlco-Chlrurglco-Pharniaceutlca, vet ejus Praeparatlo et 
 Usus in omnibus ferme Corporis Humani Lncommodls." The chief uses of the 
 herb are thus summarized in an epigram prefixed to this work : 
 
 "OceUis 
 Subvenit, et sanat plagas, et vulnera jungit. 
 Discutit et strumas, cancrum, cancrosaque sanat 
 Ulcera, et ambustis prodest, scabiemque repellit," etc. 
 
 The following stanza from Barton HoHday's Marriage of the Arts as acted before 
 King James at Woodstock in 1621, alludes to the most widely credited medicinal 
 virtue of tobacco: 
 
 "Tobacco's a Physician, 
 Good for both sound and sickly; 
 Tis a hot perfume. 
 That expells cold rheume. 
 And makes it flow down quickly." 
 
 (Nichols, Progresses of James I, iii, 714.) 
 
 648. the ladles begin to affect him. Women had long since begun to smoke. 
 Signior Petoune in Sharpham's The Flelre (1615) tells a group of ladies that the divine 
 herb will beautify their complexions if taken of a morning. Edmund Howe, 
 in his continuation of Stowe's Annals, edition of 1631, p. 1038, remarks that in his 
 day tobacco was "commonly used by most men and by many women." Cf. 
 Dekker, Satlromastlx (1602): " 'Tis at your service gallants, and the tobacco 
 too: 'tis right pudding, I can tell you; a lady or two took a pipe full at my hands, 
 and praised it, fore the heavens." A portrait of 1650 shows a finely dressed lady 
 gracefully smoking a clav pipe. (Fairholt, Tobacco, its History and Associations, 
 p. 69.) 
 
54 Ale, and Tobacco 
 
 657. he had fasted 3 or 4 dayes only with Tobacco. Cf. Jonson, Every Man in 
 his Humour, III, ii: "I have been in the Indies (where this herbe grows) where 
 neither myself, nor a dozen gentlemen more (of my knowledge) have received the 
 taste of any other nutriment in the world for the space of one and twenty weeks, 
 but tobacco only." Also Samuel Rowlands, Knave of Cliihbs (1611) : 
 
 "Whenas my purse will not afford my stomach flesh or fish, 
 I sup with smoke, and feed as well and fat as one could wish." 
 
 And The Metamorphosis of Tobacco (1602) (Reprinted, Collier, Illustrations, p. 39) 
 
 lb., p. 49. 
 
 'AH goods, all pleasure it in one doth linke, 
 
 'Tis phisieke, clothing, music, meate and drinke." 
 
 "Here could I tell you how upon the seas 
 Some men have fasted with it forty dales," etc. 
 
 669. wine doth here enter into league with Tobacco. Wine is compared with 
 tobacco in Book II of Thorius's Hymmis, pp. 30-31. At the close of the discussion 
 the author says that the two should be inseparable : 
 
 : •. "Sic operas praestant inter se, junctaque multo 
 
 Nobilibus sapiunt, quam degustata seorsim." 
 
STUDIES IN PHILOLOGY 
 
 Vol. I. Chaucer's Relative Constructions. By Louis Round 
 
 Wilson. 
 Vol. II, Studies in the Syntax of the King James Version. 
 
 By James Moses Grainger. 
 Vol. III. The Influence of E. T. A. Hoffman on the Tales of 
 
 Edp-ar Allan Poe. By Palmer Cobb. 
 Vol. IV. Gonjunction-f Participle Group in English. By 
 Orestes P. Rhyne. 
 The Dramatic Monologue. By Claud Howard. 
 Vol. V. Imprecation as a Means of Emphasis in the Old 
 
 French Chansons de Geste: By Oliver Towles. 
 An- Example of Secondary Ablaut in the Modern 
 English Weak Verb. By James Finch Royster, 
 Hebbel's Julia a Forerunner of the Modern Drama, 
 By Palmer Cobb. 
 Vol. VI. A Middle English Treatise on the Ten Command- 
 ments. Part I. — Text and Notes, Edited by 
 James Finch Royster. 
 Vol. VII, Nature Similes in Catullus. By George Howe. 
 
 "onos Wnh av in Object Clauses. By Charles 
 W. Bain. 
 Vol. VIII, A Middle English Treatise on the Ten Command- 
 ments. Part II. Introduction. Edited by James 
 Finch Royster. 
 Vol. IX. The French Inchoative Suffix -iss and the French 
 -ir Conjugation in Middle English, By John 
 Manning Booker. 
 Vol, X, The Demonstrative pronoun in Sophocles. Part I. 
 
 By Charles W. Bain. 
 Recent Criticism of Latin Literature. By George 
 Howe. . : 
 
 Vol. XL The Shepheards Calender II. Edwin Greenlaw. 
 The Celtic Origin of the Lay of Yonec, By Tom 
 
 Peete Cross. 
 A Note on Phormio. By George Howe. 
 Authorship and Interpretation of the 'EK TH5 
 M0Y5IKHS 'I2TOPIA5. By Wilbur High Roys-