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  Materialien zur Kunde
    des älteren Englischen Dramas

                      UNTER MITWIRKUNG DER HERREN

=F. S. Boas=--LONDON, =A. Brandl=--BERLIN, =R. Brotanek=--WIEN,
=F. I. Carpenter=--CHICAGO, =Ch. Crawford=--LONDON, =G. B.
Churchill=--AMHERST, =W. Creizenach=--KRAKAU, =E. Eckhardt=--FREIBURG
I. B., =A. Feuillerat=--RENNES, =R. Fischer=--INNSBRUCK, =W. W.
Greg=--LONDON, =F. Holthausen=--KIEL, =J. Hoops=--HEIDELBERG, =W.
Keller=--JENA, =R. B. Mc Kerrow=--LONDON, =G. L. Kittredge=--CAMBRIDGE,
MASS., = E. Koeppel=--STRASSBURG, =J. Le Gay Brereton=--SIDNEY, =H.
Logeman=--GENT, =J. M. Manly=--CHICAGO, =G. Sarrazin=--BRESLAU,
† =L. Proescholdt=--FRIEDRICHSDORF, =A. Schröer=--CÖLN, =G. C.
Moore Smith=--SHEFFIELD, =G. Gregory Smith=--BELFAST, =A. E.
H. Swaen=--GRONINGEN, =A. H. Thorndike=--EVANSTON, ILL., =A.
Wagner=--HALLE A. S.

                     BEGRUENDET UND HERAUSGEGEBEN

                                 =VON=

                               =W. BANG=

 o. ö. Professor der Englischen Philologie an der Universität Louvain

                           ZWANZIGSTER BAND

                                LOUVAIN
                             A. UYSTPRUYST

                                LEIPZIG
                            O. HARRASSOWITZ

                                LONDON
                              DAVID NUTT

                                 1907

                             SATIRO-MASTIX

                                  OR

                 THE VNTRUSSING OF THE HUMOROUS POET.

                          By _Thomas Dekker_.

                HERAUSGEGEBEN NACH DEN DRUCKEN VON 1602

                                  VON

                           Dr. Hans Scherer.

                                LOUVAIN
                             A. UYSTPRUYST

                                LEIPZIG
                            O. HARRASSOWITZ

                                LONDON
                              DAVID NUTT

                                 1907

INHALT.

  Einleitende Bemerkungen:
      1) Dekker und der sog. Stage-Quarrel            VI
      2) Abfassungszeit des Satiromastix              IX
      3) Quellenuntersuchung                           X
      4) Die Quartos und die bisherigen Ausgaben     XIV
  Satiromastix                                         1
  Textnoten, Anmerkungen, Index                       77

EINLEITENDE BEMERKUNGEN.

1. DEKKER UND DER SOG. STAGE-QUARREL.

Über den Bühnen-Streit ist schon so vieles und ausführliches, zuletzt
von ~Penniman~[1] und ~Small~[2], geschrieben worden, dass ich mich
über die allgemeinen Punkte kurz fassen kann.

Nach ~Small's~ eingehender Prüfung des ganzen Materials und meiner
eigenen Überzeugung ist das einzig Positive, was bis jetzt hier
gesagt werden kann, dass die Fehde zwischen ~Jonson~ einerseits
und ~Marston~ mit ~Dekker~ als Bundesgenossen andererseits geführt
wurde. ~Monday~, und gar ~Drayton~ und ~Nash~, scheinen mir nach
~Small's~ gründlichen Untersuchungen sehr an zweiter Stelle zu
stehen, und von ~Shakespeare's~ Beteiligung konnte ich mich trotz der
weitausgreifenden Darlegungen des der Wissenschaft leider zu früh
entrissenen amerikanischen Forschers nicht völlig überzeugen; nicht zu
reden von den hypothetischen Teilnehmern ~Pennyman's~ (wie ~Daniel~,
~Lodge~ und den vielen von ihm selbst als «doubtful» bezeichneten
Persönlichkeiten), die schon von ~Small~ grossenteils als unhaltbar
abgetan wurden.

Welches sind denn die literarischen Dokumente, auf welchen sich
der Streit aufbauen lässt? ~Small~ hat sie bereits (p. 3 ff.)
zusammengestellt:

1. Äusserungen ~Jonson's~ über ~Marston~ in seinen _Conversations_ mit
~Drummond~,

2. der _Apologetical Dialogue_ am Ende des _Poetasters_,

3. _To the World_, Worte, welche dem _Satiromastix_ vorangeschickt sind,

4. die oft zitierte Stelle aus _II. Return from Parnassus_, IV, 5: ...
_our fellow Shakespeare hath given him_ (~Ben Jonson~) _a purge that
made him beray his credit_.

Dazu kommen nun noch die zahlreichen Anspielungen, welche in den von
den beteiligten Autoren zwischen 1598-1601 oder 1602 geschriebenen
Stücken enthalten sind oder wenigstens enthalten sein sollen. Es
ging hier, wie so oft in der früheren literarhistorischen Forschung:
die Phantasie des Forschers suchte in das Dunkel des betreffenden
Gegenstandes dadurch Klarheit zu bringen, dass sie alles mögliche in
den jeweiligen Text hineingeheimniste und dadurch die Materie nur noch
komplizierter gestaltete. ~Small~ hat (p. 8 ff.) alle Arbeiten über den
«Stage-Quarrel» von ~Gilchrist~ bis auf ~Penniman~ einer kurzen Kritik
unterzogen und fast durchgängig die geringe Haltbarkeit ihrer Ansichten
nachgewiesen[3].

Hier soll nur das Verhältnis ~Dekker's~ zu ~Ben Jonson~ des Näheren
behandelt werden; und auch dieses mehr im zusammenfassenden Sinn,
da bei den Anmerkungen zum Texte des _Satiromastix_ hinreichend
Gelegenheit sein wird, auf Einzelheiten weiter einzugehen.

~Dekker~ und ~Jonson~ arbeiteten bekanntlich eine Reihe von Jahren
zusammen; so noch Aug.-Sept. 1599 _Page of Plymouth_ und _Robert II._
Wofern ~Jonson's~ Angabe im Apol. Dialogue richtig ist, dass seine
Gegner ihn bereits drei Jahre auf den Bühnen herumziehen, so trifft
sie für ~Dekker~ wohl nicht zu. Die Entzweiung unserer beiden Dichter
kann erst Ende 1599 eingetreten sein. Folglich kommen von ~Jonson's~
Stücken hier in Betracht: _Every Man out of his Humour_, dessen
Aufführung nach ~Small's~ sorgfältiger Untersuchung (p. 20 ff.) in die
Zeit von 15. Februar-24. März 1599/1600 anzusetzen ist, _Cynthia's
Revels_[4] und der _Poetaster_; diese können Anspielungen auf Dekker
enthalten. Dass die beiden letzteren solche in grosser Zahl aufweisen,
steht wohl ausser jedem Zweifel fest, ob aber _Every Man out_ für die
Dekker-Jonson Kontroverse bereits zu verwenden ist, scheint mir mit
~Small~ sehr fraglich; denn die Charakterisierung des Carlo Buffone,
wie sie in den _Characters of the Persons_ und im Verlauf des Stückes
selbst gegeben wird, scheint nicht auf ~Dekker~ zu passen, der selbst
wohl den Demetrius des _Poetasters_ und den Anaides der _Cynthia's
Revels_, niemals aber den Carlo Buffone auf sich bezog[5]. Und ~Dekker~
muss es doch selbst am besten gefühlt haben, was ihn anging und was
nicht. Es ist auch kaum glaublich, dass ~Jonson~ so kurz nach seinem
Zusammenarbeiten mit unserem Dichter, diesen schon in einem Stücke
sollte kräftig persifliert haben; und sollte er es ja getan haben, so
geschah es in einer Weise, dass der, dem es galt, es gar nicht als
auf sich gemünzt erkannte; um wie viel weniger können wir, die den
Verhältnissen zeitlich so weit entrückt sind, die Satire in _Ev. Man
out_ auf ~Dekker~ noch herausfühlen.

Ja, mir will sogar dünken, dass ~Dekker~ die Anspielungen auf sich, wie
sie in _Cynthia's Revels_ und selbst im _Poetaster_ gefunden werden,
ursprünglich gar nicht so bös aufnahm, sondern erst durch seinen Freund
~Marston~, dem diese Stücke offenbar zunächst auf den Leib geschrieben
waren[6], dazu aufgehetzt wurde. Damit stünde im Einklang, dass sich
einerseits weder im _Shoemakers' Holiday_, noch in der _Patient
Grissell_ und im _Fortunatus_ mit Sicherheit satirische Bemerkungen
des etwa verstimmten Dichters nachweisen lassen, und dass andererseits
der Histrio im _Poetaster_[7] ausdrücklich erwähnt, sie hätten einen
gewissen Demetrius ~gedungen~, um dem Horaz (~Ben Jonson~) in einem
Theaterstück eins zu versetzen.

Ferner ist zu beachten, dass die Stellen, in denen sich ~Dekker~ selbst
(als Demetrius) über Horace (~Jonson~) äussert, alles eher als die
Worte eines erbitterten Feindes enthalten, der seinen Gegner mit Spott
und Hohn überschütten will; und mit den oft groben Ausfällen seines
Tucca scheint der zu derben Streichen gern geneigte «Journeyman-poet»
seinem Freunde ~Marston~, der sich zu solchem Tun zu vornehm war,
wirklich Handlangerdienste geleistet zu haben.--So ein Stück war
überdies rasch geschrieben, fand ein dankbares Publikum und brachte den
Schauspielern «a huge deal of money»[8] ein, das sie brauchen konnten.

Mit _Satiromastix_ beginnt für ~Dekker~ der Stage-Quarrel mit ~Jonson~,
mit _Satiromastix_ endet er auch für ihn. Mit der Veröffentlichung des
_Apologetical Dialogue_, der Erwiderung auf den _Satiromastix_, war
auch für ~Jonson~ der Streit in der Hauptsache beendet.

Allzu tief sass also, glaube ich, bei ~Dekker~ der Groll nicht;
~Jonson~ allerdings, der von den Poetastern in seiner Eitelkeit
gekränkt worden war, hat von ihm offenbar keine gute Meinung bewahrt,
denn noch in seinen _Conversations_[9] bezeichnet er ihn nebst andern
als einen «rogue».

Fußnoten:

[1] ~Penniman~, _The War of the Theatres_, i. d. Publications of the
University of Pennsylvania, Boston, 1897.

[2] ~Small~, _The Stage-Quarrel_, Heft 1 der Forschgn. z. engl. Sprache
und Litteratur, Breslau, 1899.

[3] Es ist vielleicht nicht uninteressant, noch einmal an ~Swinburne's~
Artikel im _XIX th Century_, XXI, 1887, p. 81-103, zu erinnern und zu
zeigen, was alles in den Satiromastix hineingeheimnist wurde: Rufus
sollte ~Shakespeare~ sein, Vaughan-~Lyly~, Tucca-~Sir Phil. Sidney~,
Bubo-~Bacon~, Flash-~Sir W. Raleigh~, Cælestine-~Queen Elizabeth~!

[4] von ~Small~, p. 24 ff. auf ca Februar-März 1600/01 angesetzt.

[5] ~Small's~ Beweisführung dazu (p. 31 ff.) scheint mir so gelungen,
dass sie einer Erneuerung nicht bedarf; cf. Anm. z. Z. 2642.

[6] Es darf hier die schon öfter zit. Stelle aus den _Conversations
with Drummond_, ed. Ph. Sidney, London 1906, p. 33, nicht aus dem Auge
gelassen werden: _he_ (Jonson) _had many quarrels with Marston, beat
him, and wrote his Poetaster on him_.

[7] III, 1. Merm. Ser. p. 315.

[8] ebenda.

[9] ed. ~Sidney~, L. 1906, p. 13.

2. DIE ABFASSUNGSZEIT.

Die Quartos des _Satiromastix_ tragen als Jahreszahl ihres Erscheinens
1602.

In den _Stationers' Register_[1] wurde das Stück auf den 11. November
1601 wie folgt eingetragen:

  11 Novembris

  John Barnes Entred for his Copye vnder the handes of the wardens
              and vppon condicon that yt be lysensed to be printed
              / A booke called _the vntrussinge of the humorous poetes_
              by Thomas Dekker,                                    vjd

~Fleay~ und andere geben als Zeitpunkt der Veröffentlichung des
_Satiromastix_ September 1601 an. ~Small~ (p. 119) fixiert ihn auf
August oder September 1601. ~Mallory~, der als Erscheinungszeit
des _Poetaster_ Ende Juli 1601 festsetzt, schliesst sich (p. xxx)
~Fleay~ an. ~Small~ und ~Mallory~ legen besonderes Gewicht darauf,
dass ~Dekker~, _Satiromastix_ Z. 641, ~Jonson~ die Arbeitszeit von
15 Wochen, welche er auf die Abfassung des _Poetasters_ verwandte,
vorhält; ~Dekker~ selbst müsste also seine Erwiderung in beträchtlich
kürzerer Zeit geschrieben haben. Dazu würde also September 1601 für
unser Stück recht gut passen, doch sind zur Fixierung des Datums ein
paar Stellen aus dem Texte selbst mit in Betracht zu ziehen.

Es ist nicht ausgeschlossen, dass ~Dekker~, als der _Poetaster_ über
die Bühne ging, bereits an dem «Untrussing of the Humorous Poet»
arbeitete.--Ist dem nicht so, so wusste man zum mindestens, dass
~Dekker~ an einem Stücke (King Rufus) arbeitete, und sein mit ~Marston~
in den allgemeinen Zügen entworfener Plan--wenn ~Jonson~ uns wieder
in einem Stücke auf die Bühne bringt, so zahlen wir es ihm mit einem
ebensolchen heim,--musste auch schon in eine gewisse Öffentlichkeit
gedrungen sein; anders hätte Tucca im _Poetaster_[2] nicht sagen
können: _I hear you'll bring me o' the stage there_; noch der Histrio:
_we have hired him_ (Demetrius-Dekker) _to abuse Horace, and bring him
in, in a play_ etc.[3]

Wie lange ~Dekker~ am _Satiromastix_ arbeitete lässt sich nicht sagen,
aber es ist anzunehmen, dass er trachtete, seine Wiedervergeltung nach
ihrer Vollendung so rasch als möglich zur Aufführung zu bringen. Und
zur Feststellung des ungefähren Datums der letzteren bietet das Stück
selbst, wie oben erwähnt, Anhaltspunkte.

Professor ~Bang~ hat gelegentlich seiner Besprechung der
_Poetaster_-Ausgabe durch ~Mallory~[4] auf die mehrfachen Anspielungen
auf Weihnachten, wie sie sich im _Satiromastix_ finden, hingewiesen
und gemeint das Stück «wird für Weihnachten[5] geschrieben sein»,
und er hat zugleich nicht Anstand genommen den _Poetaster_ auf 5 bis
8 Wochen später anzusetzen. Ausserdem lenkte Professor ~Bang~ meine
Aufmerksamkeit auf die Lady Furnivall, Z. 2659. Dieselbe wird in dem
1606 gedruckten, aber bereits 1601 zur Aufführung gelangten Stücke _Sir
Gyles Goosecappe_ Z. 1204 erwähnt[6]. Da dieser also im _Satiromastix_
erwähnt wird, so muss letzterer nach _Sir Gyles Goosecappe_ anzusetzen
sein. Dieser kann aber nicht vor dem 14. September 1601 geschrieben
sein[7]. Datiert also _Goosecappe_ aus der Zeit: zweite Hälfte des
September bis November, so wäre für _Satiromastix_ die Zeit von
frühestens erste Hälfte Oktober bis in den November oder gar Dezember
hinein anzusetzen; also etwa gegen Mitte des letzten Viertels des
Jahres 1601 (N. St.), wozu auch das «this colde weather» in Z. 2705
passen würde.

Fußnoten:

[1] ~Arber's~ Reprint, III, 195.

[2] _Poet._ III, 1, Merm. Ser. p. 311.

[3] _l. c._ p. 315.

[4] _Lit. Zentralblatt_, 1905, Nº 36. Sp. 1195.

[5] cf. Z. 1587 u. 2510.

[6] Vergl. die Anmerkung zu _Satirom_. Z. 2659.

[7] (Über das Datum von _Goosecappe_ werde ich ausführlicher in meiner
Ausgabe handeln. W. B.).

3. QUELLENUNTERSUCHUNG.

Zu diesem Behuf sei unser Drama in seine zwei Bestandteile zerlegt: in
das _König Rufus-Spiel_ und in den eigentlichen _Satiromastix_.

Es steht wohl fest, dass ~Dekker~, als er an _The Untrussing of the
Humorous Poet_ ging, gerade ein historisches Schauspiel mit König
Rufus im Mittelpunkt in der Arbeit hatte, und dass nur sein Bestreben,
~Jonson~ so bald wie möglich heimzuzahlen, die starken Anachronismen
und den losen Zusammenhang der Rufus- und der Untrussing-Szenen
einigermassen entschuldigen lässt.

Über das Rufus-Spiel hat ~Small~ p. 119 ff. eingehend gehandelt, so
dass darauf verwiesen werden kann. Als Skizze des wahrscheinlichen
Verlaufes der Haupthandlung gibt er an: Act I, the rejoicings at the
approaching nuptials of Terrill and Celestine. Act II, the King's
lustful desires, and Terrill's rash promise. Act III, the death of
Celestine. Act IV, the presentation of the veiled corpse of Celestine
to the King, and Terrill's denunciation of him. Act V, the death of the
King at the hands of Terrill. Daneben steht als komische Nebenhandlung
die Werbung der beiden Rivalen Prickshaft und Sir Vaughan um die Witwe
Miniver.

Eine Quelle für die Haupthandlung selbst zu finden, ist mir nicht
gelungen. Als historische Persönlichkeiten des Stückes können
zunächst nur angesprochen werden: König Rufus und Sir Walter Terrill
(Tirell)[1], a French Knight, wie er in Holinshed's Chronik bezeichnet
wird, der den König auf einer Hirschjagd zufällig durch einen
Pfeilschuss tötete.

Aus der Haupthandlung selbst sei im besondern noch auf das Mittel
des ~Schlaftrunkes~ hingewiesen, das dazu dient, dem Mädchen einen
unliebsamen Freier fernzuhalten. Dies war offenbar bei Dichter und
Publikum ein beliebter Trick. Es ist wohl kaum nötig an _Romeo and
Juliet_ zu erinnern[2]; ~Dekker~ hat das Motiv selbst noch einmal in
der _Honest Whore_ verwendet, wo des Herzogs Tochter Infelice durch
einen Schlaftrunk einem lästigen Freier entzogen wird; und ähnlich in
_Match me in London_: Valasco soll vergiftet werden, aber der Arzt
reicht nur einen Schlaftrunk. Bei Besprechung der Quellen zu _The
Triumph of Love_ und _The Faithful Friends_ verweist ~Koeppel~[3]
beide Mal auf den Schlaftrunk im _Satiromastix_. Im ersteren Stück
soll Benvoglio's Tochter Violante den von der Dienerin gemischten
Giftbecher leeren; er enthält aber kein Gift, sondern nur einen starken
Schlaftrunk. Im zweiten wird die jungfräuliche Gattin des Marcus
Tullius von dem König Titus Marcius an den Hof gelockt, -- doch sollte
nur die Treue der Gattin geprüft werden. Der König entpuppt sich als
Biedermann.

Ein weiteres beliebtes Bühnenmittel, das auch im Satiromastix
Verwendung fand, war die Figur des ~Welshman~, der durch seine
schlechte Aussprache des Englischen das komische Element vertritt.
Sir Vaughan's Landsleute[4] finden wir in Peele's _Edward I_, in
der _Patient Grissill_, in _Northward Ho!_, in den _Merry Wives of
Windsor_, in _Henry V_, in Ben Jonson's _For the Honour of Wales_ und
im _Valiant Welshman_; auch auf die beiden Irländer im _Fortunatus_ sei
verwiesen.

Was das ~Untrussing-Spiel~ betrifft, so lassen sich hier die Fäden
der Handlung und der zahlreichen Anspielungen leichter auf ihre
Ausgangspunkte zurückverfolgen. -- Die Personen, welche diesem Stücke
angehören sind: Horace, Crispinus, Demetrius, Tucca und Asinius
Bubo, wovon die vier ersten in Namen und Person aus dem _Poetaster_
herübergenommen sind. ~Small~[5] hat für den _Satiromastix_ und
~Mallory~[6] für den _Poetaster_ das diesbezügliche Material
ausführlich behandelt, so dass ich mich mit folgender Tabelle begnügen
kann:

  Satiromastix       Poetaster         Historische Persönlichkeit
                                       klassisch[7]     elisabethanisch.

  Horace =           Horace =       Quintus Horatius }     = Ben Jonson.
                                           Flaccus }

  Crispinus =        Crispinus = {Rufus Laberius Crispinus} = Marston.
                                 {od. Laberius Decimus    }

  Demetrius Fannius = Demetrius Fannius = {ein Demetrius  } = Dekker.
                                          {oder Fannius(?)}

  Tucca =             Tucca =          Plotius Tucca? } =    {Captain
                                       od. Pantilius? }      {Hannam(?)

~Dekker~ selbst gibt als Urbild des Tucca (im _Poetaster_) den Cpt.
Hannam an, der offenbar eine stadtbekannte Persönlichkeit war. ~Small~
weist auf eine andere mögliche Quelle hin (p. 26), nämlich auf den
Cpt. Tucca, welcher uns also bereits dem Namen und Stand nach in ~E.
Guilpin's~ _Skialetheia_ (1598) begegnet. Aus diesen beiden Hinweisen
geht ziemlich sicher hervor, dass Tucca höchstens den Namen aus dem
Altertum geborgt hat, sonst aber die Copie einer bei St. Paul's häufig
getroffenen zeitgenössischen Persönlichkeit ist; und ich kann mich
nicht ~W. H. Browne~ anschliessen, der glaubt[8], dass aus den Worten
_his belly is like Barathrum_[9] für die Person des Tucca auch auf
eine antike literarische Quelle geschlossen werden könnte, nämlich
auf den Maenius des Horaz[10]. Die Erwähnung des Wortes Barathrum
beweist zu wenig, das Wort war damals wohl geläufig, wie z. B. aus
~Dekker~, vol. III. _London Triumphing_ p. 249 und _If this be not a
good Play_, p. 351 zu ersehen ist. Vgl. auch das von ~Mallory~, p.
198 cit. Beispiel: your lean _barathrum_, that kitchen-stuff devourer
(~Shirley~, _The Wedding_, II, 3).

Der Tucca des _Satiromastix_ hat auch eine kleine Änderung an seiner
Person erfahren. Er ist nicht mehr der ruhmredige, prahlende Tucca
des _Poetasters_, der die Reihe Shift (i. _Ev. Man out_) und Bobadil
(i. _Ev. Man in_) schliesst; seine Stärke ist der Gebrauch derber
Redensarten geworden, und er steht ganz im Dienste der _Poetaster_,
deren wahres Sprachrohr er ist.

Nicht unerwähnt soll schliesslich die grosse Ähnlichkeit bleiben,
welche in den Charakteren des _Asinius Bubo_ und des Simplicius
Faber aus _What you will_ herrscht. Hinsichtlich seiner, des Bubo,
Persönlichkeit müssen wir wohl mit ~Small~[11] vermuten, dass er ein
dienender Jünger des Horace-Jonson war; und vielleicht wird seine
Identität mit dem ziemlich unbekannten Theaterdichter ~Wentworth Smith~
noch einmal festgestellt.

Soviel über die einzelnen Figuren des Untrussing-Spieles. Was den
Inhalt dieses Teiles selbst betrifft, so kann man kurz sagen: seine
Quellen liegen in erster Linie im _Poetaster_ und dem Leben ~Ben
Jonson's~, in zweiter Linie in anderen Dramen dieses Dichters. Die
zahlreichen Anspielungen darauf und auf die zeitgenössische Literatur,
die diesen Teil nahezu ausmachen, sind in den Erläuterungen zum Texte
näher behandelt.

Es erübrigt vielleicht noch ein paar Worte über die beiden Stellen[12]
hinzuzufügen, welche ein Lob auf den Haarwuchs und ein solches auf
die Kahlköpfigkeit enthalten. ~Small~ hat auch hier auf die beiden
Schriften von ~Rich. Harvey~ und von ~Nash~ hingewiesen[13], welche
diese kleine Kontroverse veranlasst haben mögen, und fügt ganz
richtig hinzu «the dispute _dates_ back to» Dio Chrysostomos' Lob des
Haarwuchses[14] und Synesius Cyrenensis' Calvitii Encomium[15], denn
als Quellen im engeren Sinne können diese beiden letzteren nicht
aufgefasst werden. Die Generalidee ein Lob auf die Kahlköpfigkeit
einem Lob auf den Haarwuchs entgegenzustellen lässt sich ja auf die
beiden alten Philosophen zurückführen; aber die Behandlung des Themas
in Horace's Lob auf das Haar ist ganz frei, und Crispinus' Lob auf
die Kahlköpfigkeit zeigt eigentlich auch nichts von der eigenartigen
Behandlungsweise des Synesius, der sehr viel mit historischen
Beispielen arbeitet. Es müsste denn sein, dass der Exkurs ins Weltall
und besonders der Vergleich mit dem Monde nicht mehr als zufällig
bezeichnet werden könnte, dann müsste als vermittelndes Glied die von
~Small~ angegebene englische Übersetzung durch ~Abr. Fleming~ aus dem
Jahre 1579 eintreten.

Wiewohl beide Lobreden Horace und Crispinus in den Mund gelegt
sind, also scheinbar dem Untrussing angehören, so müssen sie doch
ursprünglich schon für das Rufusspiel niedergeschrieben worden sein,
denn einmal enthalten sie keine Ausfälle der Poetaster auf ihren
Gegner, und dann scheinen sie mir sorgfältig ausgearbeitet zu sein und
zeigen nichts von der Hast der Untrussing-Teile.

Die eigentliche Untrussing-Szene (Z. 2464 ff.) ist das Analogon zur
Schlussszene im _Poetaster_ und wie diese verwandt mit der bekannten
Szene in den _Fröschen_ des Aristophanes, in welcher zwischen zwei
Dichterschulen, aber mit Vermeidung des persönlichen Elementes,
abgerechnet wird.

[1] cf. auch: ~Freeman~, _The Reign of William Rufus_, II, p. 672.

[2] cf. ~Koeppel~, _Studien über Shakespeare's Wirkung_, Mater. IX, p.
4: _Dead, she's death's Bride_, klingt wie eine Wiederholung der Klage
des alten Capulet, IV, 5, 35 ff.

[3] _Quellenstudien z. d. Dramen Ben Jonson's_ etc. Erlangen 1895, p.
50 u. 63.

[4] Sie wurden von ~Bang~ in d. _Dekker-Studien_, Engl. Stud. 28,
225 ff. zusammengestellt. -- Vgl. auch die Bemerkungen zur Sprache
Morgan's, bei ~Kreb~, i. s. Ausgabe d. _Valiant Welshman_, p. XX ff.

[5] Quarrel, p. 122 ff.

[6] _Poetaster_, p. XXXXI ff.

[7] sämmtlich aus Horaz bekannt.

[8] _Mod. Lang. Notes_, XX, 216.

[9] _Poet._ III, 1. p. 314.

[10] _Epist._ I, 15, 31.

[11] _Quarrel_, p. 126 u. d. Anm.

[12] Z. 1454 ff. und 1844 ff.

[13] l. c. 124.

[14] i. d. _Orationes_, 1798. p. 429 ff. Vergl. auch den 26. Brief des
älteren Philostratos.

[15] ~Migne~, _Patrol. Graeca_, 66, 1167-1206.

4. DIE QUARTOS UND DIE BISHERIGEN AUSGABEN.

Vom _Satiromastix_ sind, so viel mir bekannt wurde, vier Quartos
vorhanden; und zwar befinden sich zwei in der Bibliothek des Britischen
Museums, eine in der Dyce-Library und eine in der Bodleiana zu Oxford.

Zahlreiche und wesentliche Abweichungen zeigen diese Drucke
untereinander nicht, doch können dieselben auf Grund der von mir
beobachteten Abweichungen in zwei Gruppen gebracht werden, die
aber einander zeitlich sehr nahe liegen, ja von denen die zweite
vielleicht nur die teilweise Korrektur von vermeintlichen Druckfehlern
der ersten Gruppe darstellt. Es kommen hier neben verschiedenen
Interpunktions-Abweichungen besonders die Stellen Zeile 2348, 2480,
2490 in Betracht. Auf Grund dieser und einiger weniger belangreichen
Varianten, welche aus den Text-Noten zu ersehen sind, lassen sich die
vier Quart-Exemplare in folgende Gruppen zusammenstellen:

  Q1: { 1.) C. 34. c. 27 im    Brit. Museum
      { 2.) C. 12. f. 3 (2) im  "    "

  Q2: { 3.) Exemplar der Dyce Library
      { 4.) Exemplar der Bodleiana.

Von diesen dürfte Q1 die ältere sein und zwar hauptsächlich mit
Rücksicht auf die Korrekturen in Z. 2480, wo das ungewöhnliche Mon
du durch das leichter verständliche Mon Dieu ersetzt wurde, und in
Z. 2490, wo das ursprünglich richtige, aber in den ersten Exemplaren
schlecht geratene Tamor vollends in Tam or getrennt wurde.

Was das Aussehen der einzelnen Exemplare betrifft, so wäre zu erwähnen,
dass Nº 1 und 3 ziemlich gut erhalten, letzteres aber stark beschmutzt
ist. Nº 2, das mit anderen Stücken ~Dekkers~ zusammen gebunden ist,
ist gleichfalls gut erhalten und zeigt nur in der Paginierung, die
in der bekannten Weise A A2 A3. B B2... M3 durchgeführt ist, eine
kleine Abweichung, insofern C3 beim Drucke offenbar ausgesprungen
ist und irrtümlich durch C2 ersetzt wurde. Nº 4 ist hinsichtlich der
Deutlichkeit des Druckes vielleicht das beste. Es enthält Notizen von
der Hand Malones (?). Auf dem Titelblatt ist der Namenszug ~Dekker's~
oben auf einem Stückchen Papier aufgeklebt. Wer mag der Schreiber
desselben sein?

Was die Vignetten des alten Druckes betrifft, so wäre zu sagen: pag. 1
weist einen Kreis mit ornamentalen Verzierungen auf; p. 5 und 9 in der
Mitte die über Wolken schwebende Sonne, rechts und links davon je einen
Amor; p. 6 eine Maske mit ornamentalem Schmuck, und p. 76 Maske mit
Arabesken.

       *       *       *       *       *

Von den späteren Ausgaben des _Satiromastix_ wurde die erste
veranstaltet von ~Hawkins~ in _The Origin of the English Drama_, Oxford
1773, vol. III. Der in der Orthographie modernisierte und mit einigen
Anmerkungen versehene Text ist nicht ganz so sorgfältig wiedergegeben
worden, wie man es bei dem sonst gewissenhaften Herausgeber erwartet.
Es fehlen nämlich die Zeilen 119 und 1998-2006, was im ersteren Falle
auch eine Verschiebung der Reden zur Folge hatte.

       *       *       *       *       *

Die zweite finden wir in den _Dramatic Works of Thomas Dekker_ [ed. R.
H. Shepherd], London 1873 (Pearson) vol. I. Dass in dieser Ausgabe der
~Dekker~'schen Werke die Orthographie oft unbewusst modernisiert und
mancher neue Druckfehler dazu gekommen ist, ist bekannt, und auch der
_Satiromastix_ ist hievon nicht verschont geblieben.

       *       *       *       *       *

Ferner finden sich Bruchstücke, die nahezu die Hälfte des Spieles
ausmachen, und welche durch Inhaltsangaben der übersprungenen Stellen
verbunden sind, bei ~Henry Morley~, i. s. _English Plays_, London, s.
a., p. 198-209. Abgedruckt wurden die ZZ. 262-574, 580-623, 628-682,
1392-1570, 1625-1725, 1796-2080, 2397-2656. Der Text ist modernisiert,
und kräftige Verwünschungen oder andere Ausdrücke, an denen man Anstoss
nehmen könnte, sind entweder ganz ausgelassen oder durch unschuldigere
Redewendungen ersetzt.

       *       *       *       *       *

Auch ~W. H. Williams~ hat in seinen _Specimens of the Elizabethan
Drama_, Oxford 1905, aus _Satiromastix_ Act. I. Sc. II in
modernisiertem Text abgedruckt und zwar ZZ. 261-547 unter Auslassung
der anstössigen Stellen.

       *       *       *       *       *

Bei der Herstellung der vorliegenden Ausgabe wurde der Text der
Q1 zu Grunde gelegt und die tatsächlichen Verbesserungen von Q2
berücksichtigt. Die Lesart und die Orthographie der Quarto wurde
überall, wo nicht offenkundige Druckfehler vorlagen, aufs Sorgfältigste
beibehalten. Auch die Interpunktion, selbst wenn sie mangelhaft
war, wurde getreu wiedergegeben und nur in den notwendigsten Fällen
geändert. Nicht notiert wurden die Stellen, in welchen statt der
Kursiv-Lettern Antiqua in die Personenbezeichnungen eingedrungen sind.
Wegen der übrigen Änderungen bez. Verbesserungsvorschläge des Textes
muss ich auf die Abschnitte «Text-Noten» und «Anmerkungen» verweisen.

                            Satiro-mastix.

                                  OR

                _The vntrussing of the Humorous Poet._

                 _As it hath bin presented publikely_,
             by the Right Honorable, the Lord Chamberlaine
                  his Seruants; and priuately, by the
                          Children of Paules.

                          By _Thomas Dekker_.

           _Non recito cuiquam nisi_ Amicis _idq; coactus_.

                                LONDON,
              Printed for _Edward White_, and are to bee
       solde at his shop, neere the little North doore of Paules
                Church, at the signe of the Gun. 1602.

_Dramatis personæ._

     1. William Rufus.
     2. Sir Walter Terill.
     3. Sir Rees ap Vaughan.
     4. S. Quintilian Shorthose.
     5. Sir Adam Prickshaft.
     6. Blunt.
     7. Crispinus.
     8. Demetrius Fannius.
     9. Tucca.
    10. Horace.
    11. Asinius Bubo.
    12. Peter Flash.
    13. Cælestine.
    14. Mistris Miniuer.
    15. Ladies.

                            Ad Detractorem.

                _Non potes in Nugas dicere plura meas,
            Jpse ego quam dixi.--Qui se mirantur, in illos
               Virus habe: Nos hæc nouimus esse nihil._

_To the World._

World, _I was once resolu'd to bee round with thee, because I know
tis thy fashion to bee round with euery bodie: but the winde shifting
his point, the Veine turn'd: yet because thou wilt sit as Judge of
all matters (though for thy labour thou |5| wear'st_ Midasses _eares,
and art_ Monstrum horrendum, informe: Ingens cui lumen ademptum;
_whose great_ Poliphemian _eye is put out) I care not much if I make
description (before thy_ Vniuersality) _of that terrible_ Poetomachia,
_lately commenc'd betweene_ Horace the second, _and a band of
leane-witted_ Poetasters. _They haue bin at high |10| wordes, and
so high, that the ground could not serue them, but_ (_for want of_
Chopins) _haue stalk't vpon Stages_.

Horace _hal'd his_ Poetasters _to the Barre, the_ Poetasters
_vntruss'd_ Horace: _how worthily eyther, or how wrongfully_, (World)
_leaue it to the Jurie_: Horace _(questionles) made himselfe beleeue,
that his_ |15| Burgonian wit _might desperately challenge all commers,
and that none durst take vp the foyles against him: It's likely.
if he had not so beleiu'd, he had not bin so deceiu'd, for hee was
answer'd at his owne weapon: And if before_ Apollo _himselfe_ (_who
is_ Coronator Poetarum) _an_ Inquisition _should be taken touching
this lamentable merry murdering of Innocent |20| Poetry: all mount_
Helicon _to_ Bun-hill, _it would be found on the_ Poetasters _side_
Se defendendo. _Notwithstanding the Doctors thinke otherwise. I meete
one, and he runnes full Butt at me with his Satires hornes, for that
in vntrussing_ Horace, _I did onely whip his fortunes, and condition
of life, where the more noble_ Reprehension _had bin of his_ mindes
|25| Deformitie, _whose greatnes if his_ Criticall Lynx _had with as
narrow eyes, obseru'd in himselfe, as it did little spots vpon others,
without all disputation_: Horace _would not haue left_ Horace _out of_
Euery man in's Hvmour. _His fortunes? why does not he taxe that onely
in others? Read his_ Arraignement _and see. A second Cat-a-mountaine
mewes, and calles |30| me Barren, because my braines could bring foorth
no other_ Stigmaticke _than_ Tucca, _whome_ Horace _had put to making,
and begot to my hand: but I wonder what language_ Tucca _would haue
spoke, if honest Capten_ Hannam _had bin borne without a tongue? Ist
not as lawfull then for mee to imitate_ Horace, _as_ Horace Hannam?

|35| _ Besides, If I had made an opposition of any other new-minted
fellow, (of what Test so euer) hee had bin out-fac'd, and out-weyed by
a settled former approbation: neyther was it much improper to set the
same dog vpon_ Horace, _whom_ Horace _had set to worrie others_.

_I could heere (eeuen with the feather of my pen) wipe off other
ridiculous |40| imputations: but my best way to answer them, is to
laugh at them: onely thus much I protest (and sweare by the diuinest
part of true Poesie) that (howsoeuer the limmes of my naked lines may
bee and I know haue bin, tortur'd on the racke) they are free from
conspiring the least disgrace to any man, but onely to our new_ Horace;
_neyther should this ghost of_ Tucca, |45| _haue walkt vp and downe
Poules Church-yard, but that hee was raiz'd vp (in print) by newe_
Exorcismes. World, _if thy_ Hugenes _will beleiue this: doe, if not, I
care not: for I dedicate my booke not to thy_ Greatnes, _but to the_
Greatnes of thy scorne: _Defying which, let that mad Dog_ Detraction
_bite till his teeth bee worne to the stumps_: Enuy _feede thy |50|
Snakes so fat with poyson till they burst_: World, _let all thy Adders
shoote out their_ Hidra-headed-forked _Stinges_, Ha, Ha, Nauci; _if
none will take my part, (as I desire none) yet I thanke thee (thou
true_ Venusian Horace) _for these good wordes thou giu'st me_: Populus
me sibylat at mihi plaudo. World _farewell_.

Malim Conuiuis quam placuisse Cocis.

_Ad Lectorem_

In steed of the Trumpets sounding thrice, before the Play begin: it
shall not be amisse (for him that will read) first to beholde this
short Comedy of Errors, and where the greatest |60| enter, to giue them
in stead of a hisse, a gentle correction.

In letter C. Page. I. for, Whom I adorn'd as Subiects: Read, Whom I
ador'd as, &c.

In Letter C Pa. 3. for, Ile starte thence poore: Read, Ile starue their
poore, &c.

|65| In Letter C Pa. 6. for, her white cheekes with her dregs and
bottome: Read, her white cheekes with the dregs and, &c.

In the same Page, for, Strike off the head of Sin: Read, Strike off the
swolne head, &c.

In the same Page, for, that of fiue hundred, foure hundred fiue |70|
Read, that of fiue hundred: foure.

In Letter G. pa. 1. for, this enterchanging of languages: Read, this
enterchange of language.

In Letter L. pa. 5 for, And stinging insolence should: Read, And
stinking insolence, &c.

_The Vntrussing of the Humorous Poet._

_Enter two Gentlewomen strewing of flowers._

1. Come bedfellow come, strew apace, strew, strew: in good troth tis
pitty that these flowers must be trodden vnder feete as |80| they are
like to bee anon.

2. Pitty, alacke pretty heart, thou art sorry to see any good thing
fall to the ground: pitty? no more pitty, then to see an Innocent
Maydenhead deliuered vp to the ruffling of her new-wedded husband.
Beauty is made for vse, and hee that will not |85| vse a sweete soule
well, when she is vnder his fingers, I pray _Venus_ he may neuer kisse
a faire and a delicate, soft, red, plump-lip.

1. Amen, and that's torment enough.

2. Pitty? come foole, fling them about lustily; flowers neuer |90| dye
a sweeter death, than when they are smoother'd to death in a Louers
bosome, or else paue the high wayes, ouer which these pretty, simpring,
setting things, call'd brides, must trippe.

1. I pray thee tell mee, why doe they vse at weddings to furnish all
places thus, with sweet hearbes and flowers?

|95| 2. One reason is, because tis----ô a most sweet thing to lye with
a man.

1. I thinke tis a O more more more more sweet to lye with a woman.

2. I warrant all men are of thy minde: another reason is, because
|100| they sticke like the scutchions of madame chastity, on the sable
ground, weeping in their stalkes, and wincking with theyr yellow-sunke
eyes, as loath to beholde the lamentable fall of a Maydenhead: what
senceles thing in all the house, that is not nowe as melancholy, as a
new set-vp Schoolemaster?

|105| 1. Troth I am.

2. Troth I thinke thou mournst, because th'ast mist thy turne, I doe
by the quiuer of _Cupid_: you see the torches melt themselues away in
teares: the instruments weare theyr heart stringes out for sorrow:
and the Siluer Ewers weepe most pittifull Rosewater: |110| fiue or
sixe payre of the white innocent wedding gloues, did in my sight
choose rather to be torne in peeces than to be drawne on; and looke
this Rosemary, (a fatall hearbe) this dead-mans nose-gay, has crept
in amongst these flowers to decke th' inuisible coarse of the Brides
Maydenhead, when (oh how |115| much do we poore wenches suffer) about
eleuen or twelue, or one a clock at midnight at furthest, it descends
to purgatory, to giue notice that _Cælestine_ (hey ho) will neuer come
to lead Apes in hell.

1. I see by thy sighing thou wilt not.

|120| 2. If I had as many Mayden-heads, as I have hayres on my head,
Ide venture them all rather then to come into so hot a place; prethy
strew thou, for my little armes are weary.

1. I am sure thy little tongue is not.

2. No faith that's like a woman bitten [tw] fleas, it neuer lyes |125|
stil: fye vpont, what a miserable thing tis to be a noble Bride,
there's such delayes in rising, in fitting gownes, in tyring, in
pinning Rebatoes, in poaking, in dinner, in supper, in Reuels, & last
of all in cursing the poore nodding fidlers, for keeping Mistris Bride
so long vp from sweeter Reuels; that, oh I could |130| neuer endure to
put it vp without much bickering.

1. Come th'art an odde wench, hark, harke, musicke? nay then the
Bride's vp.

2. Is she vp? nay then I see she has been downe: Lord ha mercy on
vs, we women fall and fall still, and when we haue |135| husbands we
play upon them like Virginall Jackes, they must ryse and fall to our
humours, or else they'l neuer get any good straines of musicke out of
vs; but come now, haue at it for a mayden-head.

                                                               _strew._

_As they strew, enter Sir_ Quintilian Shorthose _with_ Peeter Flash
|140| _and two or three seruingmen, with lights._

_Sir quin._ Come knaues, night begins to be like my selfe, an olde man;
day playes the theefe and steales vpon vs; O well done wenches, well
done, well done, you haue couered all the stony way to church with
flowers, tis well, tis well, ther's an |145| Embleame too, to be made
out of these flowers and stones, but you are honest wenches, in, in,
in.

2. When we come to your yeares, we shal learne what honesty is, come
pew-fellow.

                                                              _Exeunt._

_Sir quin._ Is the musicke come yet? so much to do! Ist come?

|150| _Omnes._ Come sir.

_Sir quin._ Haue the merry knaues pul'd their fiddle cases ouer their
instruments eares?

_Flash._ As soone as ere they entred our gates, the noyse went, before
they came nere the great Hall, the faint hearted villiacoes |155|
sounded at least thrice.

_Sir quin._ Thou shouldst haue reuiu'd them with a Cup of burnt wine
and sugar; sirra, you, horse-keeper, goe, bid them curry theyr strings:
Is my daughter vp yet?

                                                                _Exit._

_Flash._ Vp sir? she was seene vp an houre agoe.

|160| _Sir quin._ Shee's an early sturrer, ah sirra.

_Flash._ Shee'l be a late sturrer soone at night sir.

_Sir Quint._ Goe too _Peeter Flash_, you haue a good sodaine flash of
braine, your wittes husky, and no maruaile, for tis like one of our
Comedians beardes, still ith stubble: about your busines, |165| and
looke you be nymble to flye from the wine, or the nymble wine will
catch you by the nose.

_Flash._ If your wine play with my nose Sir, Ile knocke's coxcombe.

  _Sir quin._ Doe _Peeter_, and weare it for thy labour;
  |170| Is my Sonne in Law Sir _Walter Terell_ ready yet?

_Omnes._ Ready sir.

                                                        _Exit another._

_Sir Quin._ One of you attend him: Stay _Flash_, where's the note of
the guestes you haue inuited?

_Flash._ Here Sir, Ile pull all your guestes out of my bosome; |175|
the men that will come, I haue crost, but all the Gentlewomen haue at
the tayle of the last letter a pricke, because you may read them the
better.

  _Sir quint._ My spectacles, lyght, lyght, knaues:
  Sir _Adam Prickshaft_, thou hast crost him, heele come.

|180| _Flash._ I had much a doe sir, to draw Sir _Adam Prickeshaft_
home, because I tolde him twas early, but heele come.

_Sir quint._ Justice _Crop_, what will he come?

_Flash._ He took phisicke yesterday sir.

_Sir quint._ Oh then _Crop_ cannot come.

|185| _Flash._ O Lord yes, sir yes, twas but to make more roome in his
Crop for your good cheare, _Crop_ will come.

_Sir quint._ Widdow _Mineuer_.

_Flash._ Shee's prickt you see sir, and will come.

_Sir quint._ Sir _Vaughan ap Rees_, oh hee's crost twise, so, so, so,
|190| then all these Ladyes, that fall downewardes heere, will come I
see, and all these Gentlemen that stand right before them.

_Flash._ All wil come.

_Sir quint._ Well sayd, heere, wryte them out agen, and put the men
from the women, and _Peeter_, when we are at Church bring |195| wine
and cakes, be light & nimble good _Flash_, for your burden will be but
light.

_Enter sir_ Adam _a light before him._

_Sir Adam Prickeshaft._ God morrow, god morrow: goe, in, in, in, to the
Bridegroome, taste a cup of burnt wine this morning, |200| twill make
you flye the better all the day after.

_Sir Adam._ You are an early styrrer Sir _Quintilian Shorthose_.

_Sir qui._ I am so, it behoues me at my daughters wedding, in, in, in;
fellow put out thy torch, and put thy selfe into my buttery, the torch
burnes ill in thy hand, the wine will burne better |205| in thy belly,
in, in.

_Flash._ Ware there, roome for Sir _Adam Prickeshaft_: your Worship--

                                                                _Exit._

              _Enter_ Sir Vaughan _and Mistris_ Mineuer.

|210| _Sir quin._ Sir _Vaughan_ and Widdow _Mineuer_, welcome, welcome,
a thousand times: my lips Mistris Widdow shall bid you God morrow, in,
in, one to the Bridegroome, the other to the Bride.

_Sir Vaughan_. Why then Sir _quiontilian Shorthose_, I will step
into mistris Bride, and Widdow _Mineuer_, shall goe vpon M. |215|
Bridegroome.

_Mineu._ No pardon, for by my truely Sir _Vaughan_, Ile ha no dealings
with any M. Bridegroomes.

_Sir quin._ In widdow in, in honest knight in.

_Sir Vaug._ I will vsher you mistris widdow.

|220| _Flash._ Light there for Sir _Vaughan_; your good Worship--

_Sir Vaug._ Drinke that shilling Ma. _Peeter Flash_, in your guttes and
belly.

_Fla._ Ile not drinke it downe sir, but Ile turne it into that which
shall run downe, oh merrily!

                                                    _Exit Sir Vaughan._

  |225| _Enter_ Blunt, Crispinus, Demetrius, _and others with Ladies,
                         lights before them._

_Sir quin._ God morrow to these beauties, and Gentlemen, that haue
Vshered this troope of Ladyes to my daughters wedding, welcome, welcome
all; musick? nay then the bridegroome's |230| comming, where are these
knaues heere?

_Flash._ All here sir.

 _Enter_ Terill, Sir Adam, Sir Vaughan, Celestine, Mineuer _and other
                  Ladies and attendants with lights._

_Teri._ God morrow Ladies and fayre troopes of gallants, that |235|
haue depos'd the drowzy King of sleep, _to Crowne our_ traine with your
rich presences, _I salute you all_;

Each one share thanks from thanks in generall.

_Cris._ God morrow M. Bride-groome, mistris Bride.

_Omnes._ God morrow M. Bride-groome.

  |240| _Ter._ Gallants I shal intreate you to prepare,
  For Maskes and Reuels to defeate the night,
  Our Soueraigne will in person grace our marriage.

_Sir quin._ What will the king be heer?

_Ter._ Father he will.

|245| _Sir quin._ Where be these knaues? More Rose-mary and gloues,
gloues, gloues: choose Gentlemen; Ladyes put on soft skins vpon the
skin of softer hands; so, so: come mistris Bride take you your place,
the olde men first, and then the Batchelors; Maydes with the Bride,
Widdows and wiues together, the priest's |250| at Church, tis time that
we march thether.

_Ter._ Deare _Blunt_ at our returne from Church, take paines to step to
_Horace_, for our nuptiall songs; now Father when you please.

_Sir quin._ Agreed, set on, come good Sir _Vaughan_, must we lead |255|
the way?

_Sir Vau._ _Peeter_ you goe too fast for Mistris pride: so, gingerly,
gingerly; I muse why Sir _Adam Prickeshaft_ sticks so short behinde?

  _Sir quin._ He follows close, not too fast, holde vp knaues,
  |260| Thus we lead youth to church, they vs to graues.

                                                              _Exeunt._

    _Horrace sitting in a study behinde a Curtaine, a candle by him
            burning, bookes lying confusedly:_ to himselfe.

  _Hor._ To thee whose fore-head swels with Roses,
  |265| Whose most haunted bower
  Giues life & sent to euery flower,
  Whose most adored name incloses,
  Things abstruse, deep and diuine,
  Whose yellow tresses shine,
  |270| Bright as _Eoan_ fire.
  O me thy Priest inspire.
  For I to thee and thine immortall name,
  In--in--in golden tunes,
  For I to thee and thine immortall name--
  |275| In--sacred raptures flowing, flowing, swimming, swimming:
  In sacred raptures swimming,
  Immortal name, game, dame, tame, lame, lame, lame,
  Pux, hath, shame, proclaime, oh--
  In Sacred raptures flowing, will proclaime, not--
  |280| O me thy Priest inspyre!
  For I to thee and thine immortall name,
  In flowing numbers fild with spright and flame,
  Good, good, in flowing numbers fild with spright & flame.

                         _Enter_ Asinius Bubo.

|285| _Asini._ _Horace_, _Horace_, my sweet ningle, is alwayes in
labour when I come, the nine Muses be his midwiues I pray _Jupiter_:
Ningle.

  _Ho._ In flowing numbers fild with sprite and flame,
  To thee.

|290| _Asini._ To me? I pledge thee sweet Ningle, by _Bacchus_ quaffing
boule, I thought th'adst drunke to me.

_Hor._ It must haue been in the deuine lycour of _Pernassus_, then in
which, I know you would scarce haue pledg'd me, but come sweet roague,
sit, sit, sit.

|295| _Asini._ Ouer head and eares yfaith? I haue a sacke-full of newes
for thee, thou shalt plague some of them, if God send vs life and
health together.

_Hor._ Its no matter, empty thy sacke anon, but come here first honest
roague, come.

|300| _Asini._ Ist good, Ist good, pure _Helicon_ ha?

_Hor._ Dam me ift be not the best that euer came from me, if I haue any
iudgement, looke sir, tis an _Epithalamium_ for Sir _Walter Terrels_
wedding, my braines haue giuen assault to it but this morning.

|305| _Asin._ Then I hope to see them flye out like gun-powder ere
night.

_Hor._ Nay good roague marke, for they are the best lynes that euer I
drew.

_Asin._ Heer's the best leafe in England, but on, on, Ile but |310|
tune this Pipe.

_Hor._ Marke, _to thee whose fore-head swels with Roses_.

_Asin._ O sweet, but will there be no exceptions taken, because
fore-head and swelling comes together?

_Hor._ Push away, away, its proper, besides tis an elegancy to |315|
say the fore head swels.

_Asin._ Nay an't be proper, let it stand for Gods loue.

  _Hor._ Whose most haunted bower,
  Giues life and sent to euery flower,
  Whose most adored name incloses,
  |320| Things abstruse, deep and diuine.
  Whose yellow tresses shine,
  Bright as _Eoan_ fire.

_Asini._ O pure, rich, ther's heate in this, on, on.

  _Hor._ Bright as _Eoan_ fire,
  |325| O me thy Priest inspire!
  For I to thee and thine immortall name ---- _marke this_.
  In flowing numbers fild with spryte and flame.

_Asini._ I mary, ther's spryte and flame in this.

_Hor._ A pox, a this Tobacco.

|330| _Asin._ Wod this case were my last, if I did not marke, nay all's
one, I haue alwayes a consort of Pypes about me, myne Ingle is all fire
and water; I markt, by this Candle (which is none of Gods Angels) I
remember, you started back at sprite and flame.

  _Hor._ For I to thee and thine immortall name,
  |335| In flowing numbers fild with sprite and flame,
  To thee Loues mightiest King,
  _Himen_ ô _Himen_, does our chaste Muse sing.

_Asin._ Ther's musicke in this.

  _Hor._ Marke now deare _Asinius_.
  |340| Let these virgins quickly see thee,
  Leading out the Bride,
  Though theyr blushing cheekes they hide,
  Yet with kisses will they fee thee,
  To vntye theyr Virgin zone,
  |345| They grieue to lye alone.

_Asini._ So doe I by _Venus_.

_Hor._ Yet with kisses wil they fee thee, my Muse has marcht (deare
roague) no farder yet: but how ist? how ist? nay prethee good _Asinius_
deale plainly, doe not flatter me, come, how?--

|350| _Asin._ If I haue any iudgement:

_Hor._ Nay look you Sir, and then follow a troope of other rich and
labour'd conceipts, oh the end shall be admirable! but how ist sweet
_Bubo_, how, how?

_Asini._ If I have any Iudgement, tis the best stuffe that euer |355|
dropt from thee.

_Hor._ You ha seene my Acrosticks?

_Asi._ Ile put vp my pypes and then Ile see any thing.

_Hor._ Th'ast a Coppy of mine Odes to, hast not Bubo?

_Asi._ Your odes? O that which you spake by word a mouth at |360| th'
ordinary, when Musco the gull cryed Mew at it.

_Hor._ A pox on him poore braineles Rooke: and you remember, I tolde
him his wit lay at pawne with his new Sattin sute, and both would be
lost, for not fetching home by a day.

_Asi._ At which he would faine ha blusht but that his painted |365|
cheekes would not let him.

_Hor._ Nay sirra the Palinode, which I meane to stitch to my Reuels,
shall be the best and ingenious peece that euer I swet for; stay
roague, Ile fat thy spleane and make it plumpe with laughter.

|370| _Asi._ Shall I? fayth Ningle, shall I see thy secrets?

_Hor._ Puh my friends.

_Asi._ But what fardle's that? what fardle's that?

_Hor._ Fardle, away, tis my packet; heere lyes intoomb'd the loues of
Knights and Earles, heere tis, heere tis, heere tis, Sir |375| Walter
Terils letter to me, and my answere to him: I no sooner opened his
letter, but there appeared to me three glorious Angels, whome I ador'd
as subiectes doe their Soueraignes: the honest knight Angles for my
acquaintance, with such golden baites-- but why doost laugh my good
roague? how is my answere, prethee, |380| how, how?

_Asi._ Answere, as God iudge me Ningle, for thy wit thou mayst answer
any Iustice of peace in England I warrant; thou writ'st in a most
goodly big hand too, I like that, & readst as leageably as some that
haue bin sau'd by their neck-verse.

|385| _Hor._ But how dost like the Knights inditing?

_Asi._ If I haue any iudgement; a pox ont, heer's worshipfull lynes
indeed, heer's stuffe: but sirra Ningle, of what fashion is this
knights wit, of what blocke?

_Hor._ Why you see; wel, wel, an ordinary Ingenuity, a good |390| wit
for a knight, you know how, before God I am haunted with some the most
pittyfull dry gallants.

_Asini._ Troth so I think; good peeces of lantskip, shew best a far off.

_Hor._ I, I, I, excellent sumpter horses, carry good cloaths; but |395|
honest roague, come, what news, what newes abroad? I haue heard a the
horses walking a' th top of Paules.

_Asi._ Ha ye? why the Captain Tucca rayles vpon you most preposterously
behinde your backe, did you not heare him?

_Ho._ A pox vpon him: by the white & soft hand of _Minerua_, Ile
|400| make him the most ridiculous: dam me if I bring not's humor ath
stage: &--scuruy lymping tongu'd captaine, poor greasie buffe Ierkin,
hang him: tis out of his Element to traduce me: I am too well ranckt
_Asinius_ to bee stab'd with his dudgion wit: sirra, Ile compose an
Epigram vpon him, shall goe thus--

|405| _Asi._ Nay I ha more news, ther's Crispinus & his Iorneyman Poet
Demetrius Faninus too, they sweare they'll bring your life & death
vpon'th stage like a Bricklayer in a play.

_Hor._ Bubo they must presse more valiant wits than theyr own to do
it: me ath stage? ha, ha. Ile starue their poore copper-lace |410|
workmasters, that dare play me: I can bring (& that they quake at)
a prepar'd troope of gallants, who for my sake shal distaste euery
vnsalted line, in their fly-blowne Comedies.

_Asi._ Nay that's certaine, ile bring 100. gallants of my ranke.

_Hor._ That same Crispinus is the silliest Dor, and Faninus the |415|
slightest cob-web-lawne peece of a Poet, oh God!

  Why should I care what euery Dor doth buz
  In credulous eares, it is a crowne to me,
  That the best iudgements can report me wrong'd.

_Asi._ I am one of them that can report it.

  |420| _Hor._ I thinke but what they are, and am not moou'd.
  The one a light voluptuous Reueler,
  The other, a strange arrogating puffe,
  Both impudent, and arrogant enough.

_Asin._ S'lid do not Criticus Reuel in these lynes, ha Ningle ha?

                                                      |425| _Knocking._

_Hor._ Yes, they're mine owne.

_Cris._ Horrace.

_Dem._ Flaccus.

_Cris._ Horrace, not vp yet.

|430| _Hor._ Peace, tread softly, hyde my Papers; who's this so early?
Some of my rookes, some of my guls?

_Cris._ Horrace, Flaccus.

_Hor._ Who's there? stray, treade softly: _Wat Terill_ on my life:
who's there? my gowne sweete roague, so, come vp, come in.

               |435| _Enter_ Crispinus _and_ Demetrius.

_Cris._ God morrow Horrace.

_Hor._ O, God saue you gallants.

_Cris._ _Asinius_ Bubo well met.

_Asin._ Nay, I hope so Crispinus, yet I was sicke a quarter of a |440|
yeare a goe of a vehement great tooth-atch: a pox ont, it bit me vilye,
as God sa me la I knew twas you by your knocking so soone as I saw you;
Demetrius Fannius, wil you take a whiffe this morning? I haue tickling
geare now, heer's that will play with your nose, and a pype of mine
owne scowring too.

|445| _Dem._ I, and a Hodgshead too of your owne, but that will neuer
be scowred cleane I feare.

_Asin._ I burnt my pype yesternight, and twas neuer vsde since, if you
will tis at your seruice gallants, and Tobacco too, tis right pudding
I can tell you; a Lady or two, tooke a pype full or two |450| at my
hands, and praizde it for the Heauens, shall I fill Flannius?

  _Dem._ I thanke you good Asinius for your loue,
  I sildome take that Phisicke, tis enough
  Hauing so much foole to take him in snuffe.

|455| _Hor._ Good Bubo read some booke, and giue vs leaue....

_As._ Leaue haue you deare Ningle, marry for reading any book Ile take
my death vpont (as my Ningle sayes) tis out of my Elemēt: no faith,
euer since I felt one hit me ith teeth that the greatest Clarkes are
not the wisest men, could I abide to goe to |460| Schoole, I was at
_As in presenti_ and left there: yet because Ile not be counted a worse
foole then I am, Ile turne ouer a new leafe.

                                     Asinius _reads and takes Tabacco_.

  _Hor._ To see my fate, that when I dip my pen
  In distilde Roses, and doe striue to dreine,
  |465| Out of myne Inke all gall; that when I wey
  Each sillable I write or speake, because
  Mine enemies with sharpe and searching eyes
  Looke through & through me, caruing my poore labours
  Like an Anotomy: Oh heauens to see,
  |470| That when my lines are measur'd out as straight
  As euen Paralels, tis strange that still,
  Still some imagine they are drawne awry.
  The error is not mine, but in theyr eye,
  That cannot take proportions.

  |475| _Cris._ Horrace, Horrace,
  To stand within the shot of galling tongues,
  Proues not your gilt, for could we write on paper,
  Made of these turning leaues of heauen, the cloudes,
  Or speake with Angels tongues: yet wise men know,
  |480| That some would shake the head, tho Saints should sing,
  Some snakes must hisse, because they're borne with stings.

  _Hor._ Tis true.

  _Cris._ Doe we not see fooles laugh at heauen? and mocke
  The Makers workmanship; be not you grieu'd
  |485| If that which you molde faire, vpright and smooth,
  Be skrwed awry, made crooked, lame and vile,
  By racking coments, and calumnious tongues,
  So to be bit it rankcles not: for innocence
  May with a feather brush off the foulest wrongs.
  |490| But when your dastard wit will strike at men
  In corners, and in riddles folde the vices
  Of your best friends, you must not take to heart,
  If they take off all gilding from their pilles,
  And onely offer you the bitter Coare.

  |495| _Hor._ Crispinus.

  _Cri._ Say that you haue not sworne vnto your Paper,
  To blot her white cheekes with the dregs and bottome
  Of your friends priuate vices: say you sweare
  Your loue and your aleageance to bright vertue
  |500| Makes you descend so low, as to put on
  The Office of an Executioner,
  Onely to strike off the swolne head of sinne,
  Where ere you finde it standing,
  Say you sweare;
  |505| And make damnation parcell of your oath,
  That when your lashing iestes make all men bleed;
  Yet you whip none. Court, Citty, country, friends,
  Foes, all must smart alike; yet Court, nor Citty,
  Nor foe, nor friend, dare winch at you; great pitty.

  |510| _Dem._ If you sweare, dam me Faninus, or Crispinus,
  Or to the law (_Our kingdomes golden chaine_)
  To Poets dam me, or to Players dam me,
  If I brand you, or you, tax you, scourge you:
  I wonder then, that of fiue hundred: foure
  |515| Should all point with their fingers in one instant
  At one and the same man?

_Hor._ Deare Faninus.

_Dem._ Come, you cannot excuse it.

_Hor._ Heare me, I can--

|520| _Dem._ You must daube on thicke collours then to hide it.

  _Cris._ We come like your Phisitions, to purge
  Your sicke and daungerous minde of her disease.

  _Dem._ In troth we doe, out of our loues we come,
  And not reuenge, but if you strike vs still,
  |525| We must defend our reputations:
  Our pens shall like our swords be alwayes sheath'd,
  Vnlesse too much prouockt, Horace if then
  They draw bloud of you, blame vs not, we are men:
  Come, let thy Muse beare vp a smoother sayle,
  |530| Tis the easiest and the basest Arte to raile.

  _Hor._ Deliuer me your hands, I loue you both,
  As deare as my owne soule, prooue me, and when
  I shall traduce you, make me the scorne of men.

_Both._ Enough, we are friends.

|535| _Cri._ What reads Asinius?

_Asi._ By my troth heer's an excellent comfortable booke, it's most
sweet reading in it.

_Dem._ Why, what does it smell of Bubo?

_Asi._ Mas it smels of Rose-leaues a little too.

|540| _Hor._ Then it must needs be a sweet booke, he would faine
perfume his ignorance.

_Asi._ I warrant he had wit in him that pen'd it.

_Cris._ Tis good yet a foole will confesse truth.

_Asi._ The whoorson made me meete with a hard stile in two or |545|
three places as I went ouer him.

  _Dem._ I beleeue thee, for they had need to be very lowe & easie
  Stiles of wit that thy braines goe ouer.

                      _Enter_ Blunt _and_ Tucca.

_Blun._ Wher's this gallant? Morrow Gentlemen: what's this |550| deuise
done yet Horace?

_Hor._ Gods so, what meane you to let this fellow dog you into my
Chamber?

_Blun._ Oh, our honest Captayne, come, prethee let vs see.

_Tuc._ Why you bastards of nine whoores, the Muses, why doe |555| you
walk heere in this gorgeous gailery of gallant inuentions, with that
whooreson poore lyme & hayre-rascall? why--

_Cris._ O peace good Tucca, we are all sworne friends.

_Tuc._ Sworne, that Iudas yonder that walkes in Rug, will dub you
Knights ath Poste, if you serue vnder his band of oaths, the |560|
copper-fact rascal wil for a good supper out sweare twelue dozen of
graund Iuryes.

_Blun._ A pox ont, not done yet, and bin about it three dayes?

_Horr._ By Iesu within this houre, saue you Captayne Tucca.

_Tuc._ Dam thee, thou thin bearded Hermaphrodite, dam thee, |565| Ile
saue my selfe for one I warrant thee, is this thy Tub Diogines?

_Hor._ Yes Captaine this is my poore lodging.

_Asin._ _Morrow Captaine Tucca_, will you whiffe this morning?

_Tuc._ Art thou there goates pizzel; no godamercy Caine I am |570|
for no whiffs I, come hether sheep-skin-weauer, s'foote thou lookst
as though th'adst beg'd out of a Iayle: drawe, I meane not thy face
(for tis not worth drawing) but drawe neere: this way, martch, follow
your commaunder you scoundrell: So, thou must run of an errand for mee
Mephostophiles.

|575| _Hor._ To doe you pleasure Captayne I will, but whether.

_Tuc._ To hell, thou knowst the way, to hell my fire and brimstone, to
hell; dost stare my Sarsens-head at Newgate? dost gloate? Ile march
through thy dunkirkes guts for shooting iestes at me.

|580| _Hor._ Deare Captaine but one word.

_Tuc._ Out bench-whistler out, ile not take thy word for a dagger Pye:
you browne-bread-mouth stinker, ile teach thee to turne me into Bankes
his horse, and to tell gentlemen I am a Iugler, and can shew trickes.

|585| _Hor._ Captaine Tucca, but halfe a word in your eare.

_Tuc._ No you staru'd rascal, thou't bite off mine eares then, you must
haue three or foure suites of names, when like a lowsie Pediculous
vermin th'ast but one suite to thy backe: you must be call'd Asper, and
Criticus, and Horace, thy tytle's longer a |590| reading then the Stile
a the big Turkes: Asper, Criticus, Quintus, Horatius, Flaccus.

_Hor._ Captaine I know vpon what euen bases I stand, and therefore--

_Tuc._ Bases? wud the roague were but ready for me.

|595| _Blun._ Nay prethee deare Tucca, come you shall shake--

_Tuc._ Not hands with great Hunkes there, not hands, but Ile
shake the gull-groper out of his tan'd skinne.

_Crisp. & Deme._ For our sake Captaine, nay prethee holde.

_Tuc._ Thou wrongst heere a good honest rascall Crispinus, and |600|
a poore varlet Demetrius Fanninus (bretheren in thine owne trade of
Poetry) thou sayst Crispinus Sattin dublet is Reauel'd out heere,
and that this penurious sneaker is out at elboes, goe two my good
full-mouth'd ban-dog, Ile ha thee friends with both.

_Hor._ With all my heart captaine Tucca, and with you too, Ile |605|
laye my handes vnder your feete, to keepe them from aking.

_Omnes._ Can you haue any more?

_Tuc._ Saist thou me so, olde Coale? come doo't then; yet tis no matter
neither, Ile haue thee in league first with these two rowly powlies:
they shal be thy Damons and thou their Pithyasse; |610| Crispinus shall
giue thee an olde cast Sattin suite, and Demetrius shall write thee a
Scene or two, in one of thy strong garlicke Comedies; and thou shalt
take the guilt of conscience for't, and sweare tis thine owne olde lad,
tis thine owne: thou neuer yet fels't into the hands of sattin, didst?

|615| _Hor._ Neuer Captaine I thanke God.

_Tuc._ Goe too, thou shalt now King Gorboduck, thou shalt, because Ile
ha thee damn'd, Ile ha thee all in Sattin: Asper, Criticus, Quintus,
Horatius, Flaccus, Crispinus shal doo't, thou shalt doo't, heyre
apparant of Helicon, thou shalt doo't.

|620| _Asi._ Mine Ingle weare an olde cast Sattin suite?

_Tuc._ I wafer-face your Ningle.

_Asi._ If he carry the minde of a Gentleman, he'll scorne it at's
heeles.

_Tuc._ Mary muffe, my man a ginger-bread, wilt eate any small |625|
coale?

_Asi._ No Captaine, wod you should well know it, great coale shall not
fill my bellie.

_Tuc._ Scorne it, dost scorne to be arrested at one of his olde Suites?

|630| _Hor._ No Captaine, Ile weare any thing.

_Tuc._ I know thou wilt, I know th'art an honest low minded Pigmey, for
I ha seene thy shoulders lapt in a Plaiers old cast Cloake, like a Slie
knaue as thou art: and when thou ranst mad for the death of Horatio:
thou borrowedst a gowne of Roscius |635| the Stager, (that honest
Nicodemus) and sentst it home lowsie, didst not? _Responde_, didst not?

_Blun._ So, so, no more of this, within this houre--

_Hor._ If I can sound retreate to my wits, with whome this leader is in
skirmish, Ile end within this houre.

|640| _Tuc._ What wut end? wut hang thy selfe now? has he not
writ Finis yet Iacke? what will he bee fifteene weekes about this
Cockatrices egge too? has hee not cackeld yet? not laide yet?

_Blunt._ Not yet, hee sweares hee will within this houre.

_Tuc._ His wittes are somewhat hard bound: the Puncke his |645|
Muse has sore labour ere the whoore bee deliuered: the poore
saffron-cheeke Sun-burnt Gipsie wantes Phisicke; giue the hungrie-face
pudding-pye-eater ten Pilles: ten shillings my faire Angelica, they'l
make his Muse as yare as a tumbler.

_Blu._ He shall not want for money if heele write.

|650| _Tuc._ Goe by Ieronimo, goe by; and heere, drop the ten shillings
into this Bason; doe, drop, when Iacke? hee shall call me his Mæcenas:
besides, Ile dam vp's Ouen-mouth for rayling at's: So, ist right Iacke?
ist sterling? fall off now to the vanward of yonder foure Stinkers, and
aske alowde if wee shall goe? the |655| Knight shall defray Iacke, the
Knight when it comes to _Summa totalis_, the Knyght, the Knight.--

_Blu._ Well Gentlemen, we'll leaue you, shall we goe Captaine? good
Horrace make some hast.

_Hor._ Ile put on wings.

|660| _Asin._ I neuer sawe mine Ingle so dasht in my life before.

_Cris._ Yes once Asinius.

_Asi._ Mas you say true, hee was dasht worse once going (in a rainy
day) with a speech to'th Tilt-yard, by Gods lyd has call'd him names, a
dog would not put vp, that had any discreation.

|665| _Tuc._ Holde, holde vp thy hand, I ha seene the day thou didst
not scorne to holde vp thy golles: ther's a Souldiers Spur-royall,
twelue pence: Stay, because I know thou canst not write without
quick-siluer; vp agen, this goll agen, I giue thee double presse-money:
Stay, because I know thou hast a noble head, ile deuide |670| my
Crowne, ô royall Porrex, ther's a teston more; goe, thou and thy Muse
munch, doe, munch; come my deare Mandrake, if Skeldring fall not
to decay, thou shalt florish: farewell my sweet _Amadis de Gaule_,
farewell.

_Hor._ Deare Captaine.

|675| _Tuc._ Come Iacke.

_Dem._ Nay Captaine stay, we are of your band.

_Tuc._ March faire then.

_Cri._ Horace farewell, adue Asinius.

                                                              _Exeunt._

_Asi._ Ningle lets goe to some Tauerne, and dine together, for |680| my
stomache rises at this scuruy leather Captaine.

  _Hor._ No, they haue choakt me with mine owne disgrace,
  Which (fooles) ile spit againe euen in your face.

                                                              _Exeunt._

   _Enter_ Sir Quintilian Shorthose, Sir Adam, Sir Vaughan, Mineuer
                          _with seruingmen_.

|685| _Sir quinti._ Knaues, Varlets, what Lungis, giue me a dozen of
stooles there.

_Sir Vau._ Sesu plesse vs all in our fiue sences a peece, what meane
yee sir Kintilian Sorthose to stand so much on a dozen stooles, heere
be not preeches inuffe to hyde a dozen stooles, |690| vnlesse you wisse
some of vs preake his sinnes.

_Sir quin._ I say sir Vaughan no shinne shal be broken heer; what
lungis, a chayre with a stronge backe, and a soft bellie, great with
childe, with a cushion for this reuerend Lady.

_Mineu._ God neuer gaue me the grace to be a Lady, yet I ha |695| beene
worshipt in my conscience to my face a thousand times, I cannot denye
sir Vaughan, but that I haue all implements, belonging to the vocation
of a Lady.

_Sir Vaughan._ I trust mistris Mineuer you haue all a honest oman shud
haue?

|700| _Min._ Yes perdie, as my Coach, and my fan, and a man or two that
serue my turne, and other things which Ide bee loath euery one should
see, because they shal not be common, I am in manner of a Lady in one
point.

_Sir Vaug._ I pray mistris Mineuers, let vs all see that point for
|705| our better vnderstanding.

_Mi._ For I ha some thinges that were fetcht (I am sure) as farre as
some of the Low Countries, and I payde sweetly for them too, and they
tolde me they were good for Ladies.

_Sir qui._ And much good do't thy good heart faire widdow |710| with
them.

_Min._ I am fayre enough to bee a Widdow, Sir Quintilian.

_Sir Vaug._ In my soule and conscience, and well fauoured enough to
be a Lady: heere is sir Kintilian Sorthose, and heere is sir Adam
Prickshaft, a sentleman of a very good braine, and |715| well headed:
you see he shootes his bolt sildome, but when Adam lets goe, he hits:
and heere is sir Vaughan ap Rees, and I beleeue if God sud take vs all
from his mercy, as I hope hee will not yet; we all three loue you,
at the bottome of our bellyes, and our hearts: and therefore mistris
Mineuer, if you please, |720| you shall be knighted by one of vs, whom
you sall desire to put into your deuice and minde.

_Min._ One I must haue sir Vaughan.

_Sir quin._ And one of vs thou shalt haue widdow.

_Min._ One I must haue, for now euery one seekes to crow ouer |725| me.

_Sir Vaug._ By Sesu and if I finde any crowing ouer you, & he were a
cocke (come out as farre as in Turkeys country) tis possible to cut his
combe off.

_Min._ I muse why sir Adam Prickshaft flyes so farre from vs.

|730| _Sir Adam._ I am in a browne study, my deare, if loue should bee
turned into a beast, what beast hee were fit to bee turned into.

_Sir quinti._ I thinke Sir Adam an Asse, because of his bearing.

_Min._ I thinke (sauing your reuerence) Sir Adam a puppy, for |735| a
dog is the most louing creature to a christian that is, vnles it be a
childe.

_Sir Ad._ No, I thinke if loue should bee turn'd away, and goe to serue
any beast, it must bee an Ape, and my reason----

_Sir Vaugh._ Sir Adam, an Ape? ther's no more reason in an Ape, |740|
than in a very plaine Monkey; for an Ape has no tayle, but we all know,
or tis our duty to know, loue has two tailes; In my sudsment, if loue
be a beast, that beast is a bunce of Reddis; for a bunce of Reddis is
wise meate without Mutton, and so is loue.

|745| _Mi._ Ther's the yawning Captaine (sauing your reuerence that has
such a sore mouth) would one day needes perswade me, that loue was a
Rebato; and his reason was (sauing your reuerence) that a Rebato was
worne out with pinning too often; and so he said loue was.

|750| _Sir Vaugh._ And Master Captaine Tucca sayd wisely too, loue is a
Rebato indeede: a Rebato must be poaked; now many women weare Rebatoes,
and many that weare Rebatoes----

_Sir Adam._ Must be poakt.

_Sir Vau._ Sir Adam Prickshaft has hit the cloute.

                                                             _Musicke._

|755| _Sir qui._ The Musicke speakes to vs, we'll haue a daunce before
dinner.

    _Enter_ Sir Walter Terrill, Cælestine, Blunt, Crispinus, _and_
                  Demetrius, _euery one with a Lady_.

_All._ The King's at hand.

  |760| _Ter._ Father the King's at hand.
  Musicke talke lowder, that thy siluer voice,
  May reach my Soueraignes eares.

_Sir Vaug._ I pray doe so, Musitions bestir your fingers, that you may
haue vs all by the eares.

|765| _Sir quin._ His Grace comes, a Hall varlets, where be my men?
blow, blow your colde Trumpets till they sweate; tickle them till they
sound agen.

_Blun._ Best goe meete his Grace.

_All._ Agreed.

|770| _Sir Vaug._ Pray all stand bare, as well men as women: Sir Adam
is best you hide your head for feare your wise braines take key-colde:
on afore Sir Kintilian; Sentlemen fall in before the Ladyes, in seemely
order and fashion; so this is comelye.

 _Enter Trumpets sounding, they goe to the doore, and meete the King and
  |775| his Traine, and whilst the Trumpets sound the King is welcom'd,
      kisses the Bride, and honors the Bridegroome in dumbe shew._

  _King._ Nay if your pleasures shrinke at sight of vs,
  We shall repent this labour, Mistris Bride
  You that for speaking but one word to day,
  |780| Must loose your head at night; you that doe stand
  Taking your last leaue of virginity;
  You that being well begun, must not be Maide:
  Winne you the Ladies, I the men will wooe,
  Our selfe will leade my blushing Bride with you.

|785| _Sir Vaughan._ God blesse your Maiesty, and send you to be a long
King William Rufus ouer vs, when he sees his times & pleasures.

_King._ Wee thanke you good Sir Vaughan, wee will take your meaning not
your words.

|790| _Sir quint._ Lowde Musicke there.

_Sir Vau._ I am glad your Maiesty will take any thing at my hands; my
words I trust in Sesu, are spoken betweene my soule and body together,
and haue neither Felonies nor treasons about them, I hope.

|795| _King._ Good words Sir Vaughan, I prethee giue vs leaue.

_Vaug._ Good words sir Vaughan? thats by interpretation in english,
you'r best giue good words sir Vaughan: god and his Ansells blesse me,
what ayles his maiestye to be so tedious and difficult in his right
mindes now, I holde my life that file |800| rascall-rymer Horace hath
puzd and puzd aboue a hundred merie tales and lyce, into his great and
princely eares: by god and he vse it, his being Phœbus priest cannot
saue him, if hee were his Sapline too ide prease vpon his coxcomb: good
lord blesse me out of his maiesties celler: King Williams, I hope tis
none |805| offences to make a supplication to god a mightie for your
long life: for by shesu I haue no meaning in't in all the world, vnles
rascalls be here that will haue your grace take shalke for shees, and
vnlesse Horace has sent lyce to your maiesty.

_King._ Horace, what's he sir Vaughan?

|810| _Vaugh._ As hard-fauourd a fellow as your maiestie has seene in a
sommers day: he does pen, an't please your grace, toyes that will not
please your grace; tis a Poet, we call them Bardes in our Countrie,
singes ballads and rymes, and I was mightie sealous, that his Inke
which is blacke and full of gall, had brought |815| my name to your
maiestie, and so lifted vp your hye and princely coller.

  _King._ I neither know that Horace, nor mine anger,
  If as thou saist our high and princely choller
  Be vp, wee'l tread it downe with daunces; Ladies
  |820| Loose not your men; faire measures must be tread,
  When by so faire a dauncer you are lead.

_Vaugh._ Mistris Miniuer:

_Min._ Perdie sir Vaughan I cannot dance.

_Vaugh._ Perdie by this Miniuer cappe, and acording to his |825|
masesties leaue too, you sall be put in among theise Ladies, & daunce
ere long I trest in god, the saking of the seetes.

 _They daunce a straine, and whilst the others keepe on, the King and
                           Cælestine stay._

  _Kin._ That turne faire Bride shews you must turne at night,
  |830| In that sweet daunce which steales away delight.

  _Cæl._ Then pleasure is a theife, a fit, a feauer.

  _Kin._ True, he's the thiefe, but women the receiuer.

           _Another change; they fall in, the rest goe on._

  _Kin._ This change sweet Maide, saies you must change your life,
  |835| As Virgins doe.

  _Cæl._ Virgins nere change their life,
  She that is wiu'd a maide, is Maide and wife.

  _Kin._ But she that dyes a Maide;--

  _Cæl._ Thrice happy then.

  |840| _Kin._ Leades Apes in hell.

  _Cæl._ Better leade Apes then men.

       _At this third change they end, and she meetes the King._

  _Kin._ Well met.

  _Cæl._ Tis ouertaken.

  |845| _Kin._ Why faire sweet?

  _Cæl._ Women are ouertaken when they meete.

  _Kin._ Your bloud speakes like a coward.

  _Cæl._ It were good,
  If euery Maiden blush, had such a bloud.

  |850| _Kin._ A coward bloud, why whom should maidens feare?

  _Cæ._ Men, were Maides cowards, they'd not come so nere,
  My Lord the Measure's done, I pleade my duetie.

  _Kin._ Onelie my heart takes measure of thy beautie.

  _Sir quin._ Now by my hose I sweare, that's no deepe oath,
  |855| This was a fine sweet earth-quake gentlie moou'd,
  By the soft winde of whispring Silkes: come Ladies,
  Whose ioynts are made out of the dauncing Orbes,
  Come, follow me, walke a colde measure now;
  In the Brides Chamber; your hot beautie's melt,
  |860| Take euerie one her fan, giue them their places,
  And waue the Northerne winde vpon your faces.

    _Cælestine and all the Ladyes doing obeysance to the King, who
    onely kisses her, Exeunt, Shorthose manning them, the Gallants
                            stand aloofe._

  _Kin._ Sir Walter Terrill.

  |865| _Ter._ My confirmed Leige.

  _Ki._ Beautie out of her bountie, thee hath lent,
  More then her owne with liberall extent.

  _Ter._ What meanes my Lord?

  _Kin._ Thy Bride, thy choice, thy wife,
  |870| She that is now thy fadom, thy new world,
  That brings thee people, and makes little subiects;
  Kneele at thy feete, obay in euerie thing,
  So euerie Father is a priuate King.

  _Ter._ My Lord, her beauty is the poorest part,
  |875| Chieflie her vertues did endowe my heart.

  _Kin._ Doe not back-bite her beauties, they all shine,
  Brighter on thee, because the beames are thine,
  To thee more faire, to others her two lips
  Shew like a parted Moone in thine Eclipse;
  |880| That glaunce, which louers mongst themselues deuise,
  Walkes as inuisible to others eies:
  Giue me thine eare.

  _Cri._ What meanes the King?

  _Dem._ Tis a quaint straine.

  |885| _Ter._ My Lord.

  _King._ Thou darst not Wat.

  _Ter._ She is too course an obiect for the Court.

  _Kin._ Thou darst not _W_at: let to night be to morrow.

  _Ter._ For shee's not yet mine owne.

  |890| _Kin._ Thou darst not Wat?

  _Ter._ My Lord I dare, but----

  _King._ But I see thou darst not.

  _Ter._ This night.

  _King._ Yea, this night, tush thy minde repaires not,
  |895| The more thou talk'st of night, the more thou darst not;
  Thus farre I tend, I wod but turne this spheare,
  Of Ladies eyes, and place it in the Court,
  Where thy faire Bride should for the Zodiacke shine,
  And euery Lady else sit for a signe.
  |900| But all thy thoughts are yellow, thy sweet bloud
  Rebels, th'art iealous Wat; thus with proude reuels
  To emmulate the masking firmament,
  Where Starres dance in the siluer Hall of heauen,
  Thy pleasure should be seasoned, and thy bed
  |905| Relish thy Bride, But, but thou darst not Wat.

  _Ter._ My Loord I dare.

  _Kin._ Speake that agen.

  _Ter._ I dare.

  _King._ Agen kinde Wat, and then I know thou darst.

  |910| _Ter._ I dare and will by that ioynt holy oath,
  Which she and I swore to the booke of heauen.
  This very day when the surueying Sunne,
  Riz like a witnes to her faith and mine,
  By all the loyalty that subiects owe
  |915| To Maiesty, by that, by this, by both,
  I sweare to make a double guarded oath,
  This night vntainted by the touch of man,
  She shall a Virgin come.

  _Kin._ To Court?   _Ter._ To Court.
  |920| I know I tooke a woman to my wife,
  And I know women to be earthly Moones,
  That neuer shine till night, I know they change
  Their Orbes (their husbands) and in sickish hearts,
  Steale to their sweete Endimions, to be cur'd
  |925| With better Phisicke, sweeter dyet drinkes,
  Then home can minister: all this I know
  Yet know not all, but giue me leaue O King,
  To boast of mine, and saie that I know none;
  I haue a woman but not such a one.

  |930| _Kin._ Why, she's confirmed in thee; I now approoue her,
  If constant in thy thoughts who then can mooue her?

                        _Enter_ Sir Quintilian.

  _Sir qui._ Wilt please your Highnes take your place within,
  The Ladies attend the Table.

  |935| _Kin._ I goe good Knight; Wat thy oath.

  _Ter._ My Lord,
  My oath's my honour, my honour is my life,
  My oath is constant, so I hope my wife.

                                                              _Exeunt._

  _Enter_ Horace _in his true attyre_, Asinius _bearing his Cloake_.

|940| _Asi._ If you flye out Ningle, heer's your Cloake; I thinke it
raines too.

_Ho._ Hide my shoulders in't.

_Asi._ Troth so th'adst neede, for now thou art in thy Pee and Kue;
thou hast such a villanous broad backe, that I warrant |945| th'art
able to beare away any mans iestes in England.

_Hor._ It's well Sir, I ha strength to beare yours mee thinkes; fore
God you are growne a piece of a Critist, since you fell into my hands:
ah little roague, your wit has pickt vp her crums prettie and well.

|950| _Asi._ Yes faith, I finde my wit a the mending hand Ningle; troth
I doe not thinke but to proceede Poetaster next Commencement, if I haue
my grace perfectlie: euerie one that confer with me now, stop their
nose in merriment, and sweare I smell somewhat of Horace; one calles me
Horaces Ape, another |955| Horaces Beagle, and such Poeticall names it
passes. I was but at Barbers last day, and when he was rencing my face,
did but crie out, fellow thou makst me _Conniue_ too long, & sayes he,
Master _Asinius Bubo_, you haue eene Horaces wordes as right as if he
had spit them into your mouth.

|960| _Hor._ Well, away deare Asinius, deliuer this letter to the young
Gallant _Druso_, he that fell so strongly in loue with mee yesternight.

_Asin._ It's a sweete Muske-cod, a pure <DW74>'d-gull; by this feather I
pittie his _Ingenuities_; but hast writ all this since Ningle? I know
|965| thou hast a good running head and thou listest.

_Hor._ Foh come, your great belly'd wit must long for euery thing too;
why you _Rooke_, I haue a set of letters readie starcht to my hands,
which to any fresh suited gallant, that but newlie enters his name into
my rowle, I send the next morning, ere his |970| ten a clocke dreame
has rize from him, onelie with claping my hand to't, that my Nouice
shall start, ho and his haire stand an end, when hee sees the sodaine
flash of my writing; what you prettie Diminitiue roague, we must haue
false fiers to amaze these spangle babies, these true heires of Ma.
Justice Shallow.

|975| _Asi._ I wod alwaies haue thee sawce a foole thus.

_Hor._ Away, and, stay: heere be Epigrams vpon Tucca, divulge these
among the gallants; as for Crispinus, that Crispin-asse and Fannius his
Play-dresser; who (to make the Muses beleeue, their subiects eares were
staru'd, and that there was a dearth of Poesie) |980| cut an Innocent
Moore i'th middle, to serue him in twice; & when he had done, made
Poules-worke of it, as for these Twynnes these _Poet-apes_:

  Their Mimicke trickes shall serue
  With mirth to feast our Muse, whilst their owne starue.

|985| _Asin._ Well Ningle Ile trudge, but where's the Randeuow?

_Hor._ Well thought off, marie at Sir Vaughans lodging the Welsh
knight, I haue compos'd a loue-letter for the gallants worship, to his
Rosamond: the second, Mistris Miniuer, because she does not thinke so
soundly of his lame English as he could |990| wish; I ha gull'd his
Knight-ship heere to his face, yet haue giuen charge to his wincking
vnderstanding not to perceiue it: nay Gods so, away deare Bubo.

_Asi._ I am gone.

                                                                _Exit._

  _Hor._ The Muses birdes the Bees were hiu'd and fled,
  |995| Vs in our cradle, thereby prophecying;
  _That we to learned eares should sweetly sing,
  But to the vulger and adulterate braine,
  Should loath to prostitute our Virgin straine_.
  No, our sharpe pen shall keep the world in awe,
  |1000| Horace thy Poesie, wormwood wreathes shall weare,
  We hunt not for mens loues but for their feare.

                                                                _Exit._

                    _Enter_ Sir Adam _and_ Miniuer.

_Min._ O Sir Adam Prickshaft, you are a the bow hand wide, a long yard
I assure you: and as for Suitors, truelie they all goe |1005| downe
with me, they haue all one flat answere.

_Sir Adam._ All Widdow? not all, let Sir Adam bee your first man still.

                        _Enter_ Sir Quintilian.

  _Sir quin._ Widdow, art stolne from Table? I Sir Adam,
  |1010| Are you my riuall? well, flye faire y'are best;
  The King's exceeding merrie at the banquet,
  He makes the Bride blush with his merrie words,
  That run into her eares; ah he's a wanton,
  Yet I dare trust her, had he twentie tongues,
  |1015| And euerie tongue a Stile of Maiestie.
  Now Widdow, let me tell thee in thine eare,
  I loue thee Widdow, by this ring; nay weare it.

_Mineu._ Ile come in no rings pardie, Ile take no golde.

_Sir Ada._ Harke in thine eare, take me, I am no golde.

             |1020| _Enter_ Sir Vaughan _and_ Peter Flash.

_Sir Vau._ Master Peter Flash, I will grope about Sir Quintilian, for
his terminations touching and considering you.

_Flash._ I thanke your Worship, for I haue as good a stomacke to your
Worship as a man could wish.

|1025| _Sir Vau._ I hope in God a mightie, I shall fill your stomack
Master Peter: What two vpon one Sentlemen; Mistris Miniuer, much good
doo't you Sir Adam.

_Sir quin._ Sir Vaughan, haue you din'd well Sir Vaughan?

_Sir Vau._ As good seere as would make any hungrie man (and a |1030|
were in the vilest prison in the world) eate and hee had anie stomacke:
One word Sir Quintilian in hugger mugger; heere is a Sentleman of
yours, Master Peter Flash, is tesirous to haue his blew coate pul'd
ouer his eares; and....

_Flash._ No, Sir, my petition runs thus, that your whorshippe |1035|
would thrust mee out of doores, and that I may follow Sir Vaughan.

_Sir Vau._ I can tell you Master Flash, and you follow mee I goe verie
fast, I thinke in my conscience, I am one of the lightest knights in
England.

_Flash._ It's no matter Sir, the Flashes haue euer bin knowne to |1040|
be quicke and light enough.

_Sir quin._ Sir Vaughan, he shal follow you, he shall dog you good Sir
Vaughan.

                       _Enter_ Horace _walking_.

_Sir Vau._ Why then Peter Flash I will set my foure markes a |1045|
yeare, and a blew coate vpon you.

_Fla._ Godamercy to your worship, I hope you shall neuer repent for me.

_Sir Vau._ You beare the face of an honest man, for you blush passing
well Peter, I will quench the flame out of your name, |1050| and you
shall be christned Peter Salamander.

_Peter Flash._ The name's too good for me, I thanke your worship.

_Sir Vau._ Are you come Master Horace, you sent mee the Coppie of your
letters countenance, and I did write and read it; |1055| your wittes
truelie haue done verie valliantlie: tis a good inditements, you ha put
in enough for her ha you not?

_Hor._ According to my instructions.

_Sir Vau._ Tis passing well, I pray Master Horace walke a little beside
your selfe, I will turne vpon you incontinent.

|1060| _Sir quin._ What Gentleman is this in the Mandilian, a soldyer?

_Sir Vau._ No, tho he has a very bad face for a souldier, yet he
has as desperate a wit as euer any Scholler went to cuffes for;
tis a Sentleman Poet, he has made rimes called Thalamimums, for M.
Pride-groome, on vrd widdow.

|1065| _Sir qui._ Is this he? welcome Sir, your name? pray you walke
not so statelie, but be acquainted with me boldlie; your name Sir?

_Hor._ Quintus, Horacius, Flaccus.

_Sir Quint._ Good Master Flappus welcome.

                                       |1070| _He walkes vp and downe._

_Sir Vau._ Mistris Miniuer, one vrde in your corner heere; I desire
you to breake my armes heere, and read this Paper, you shall feele my
mindes and affections in it, at full and at large.

_Mini._ Ile receiue no Loue libels perdy, but by word a mouth.

|1075| _Sir Vaughan._ By Sesu tis no libell, for heere is my hand to it.

_Mini._ Ile ha no hand in it Sir Vaughan, Ile not deale with you.

_Sir Vau._ Why then widdow, Ile tell you by word a mouth my deuices.

_Mi._ Your deuices come not neere my mouth Sir Vaughan |1080| perdy, I
was vpon a time in the way to marriage, but now I am turn'd a tother
side, I ha sworne to leade a single and simple life.

_Sir Adam._ She has answer'd you Sir Vaughan.

_Sir Vau._ Tis true, but at wrong weapons Sir Adam; will you be an Asse
Mistris Miniuers?

|1085| _Min._ If I be you shall not ride me.

_Sir Vaug._ A simple life! by Sesu tis the life of a foole, a simple
life!

_Sir qui._ How now Sir Vaughan?

_Sir Vaugh._ My braines has a little fine quawme come vnder it, |1090|
and therefore Sir Adam, and Sir Quintilian, and mistris Miniuer caps
God bo'y.

_All._ Good Sir Vaughan.

_Sir Vaugh._ Master Horace, your inuentions doe her no good in the
Vniuersalities; yet heere is two shillings for your wittes; |1095| nay
by Sesu you shall take it if't were more: yonder bald Adams, is put
my nose from his ioynt; but Adam I will be euen to you: this is my
cogitations, I will indite the Ladies & Miniuer caps to a dinner of
Plumbes, and I shall desire you M. Horace, |1100| to speake or raile;
you can raile I hope in God a mighty.

_Hor._ You meane to speake bitterlie.

_Sir Vaughan._ Right, to spitte bitterly vpon baldnes, or the thinnes
of haire; you sall eate downe Plumbes to sweeten your mouth, and heere
is a good Ansell to defend you: Peter Salamander |1105| follow me.

_Flash._ With hue and crie and you will Sir.

_Sir Vau._ Come M. Horace, I will goe pull out the Ladies.

  _Ho._ And Ile set out my wits, Baldnes the Theame?
  My words shall flow hye in a siluer stream.

                                                              _Exeunt._

           |1110| _Enter_ Tucca _brushing off the crumbes_.

_Tuc._ Wher's my most costly and sumptuous Shorthose?

_Sir Quint._ Is the King risen from table Captaine Tucca?

_Tuc._ How? risen? no my noble Quintilian, kings are greater men then
we Knights and Caualliers, and therefore must eate |1115| more then
lesser persons; Godamercy good Diues for these crummes: how now? has
not Frier Tucke din'd yet? he falles so hard to that Oyster-pye yonder.

_Sir quin._ Oyster-pye Captaine? ha, ha, he loues her, and I loue her
and feare both shall goe without her.

|1120| _Tuc._ Dost loue her, my finest and first part of the Mirrour of
Knighthood? hange her she lookes like a bottle of ale, when the corke
flyes out and the Ale fomes at mouth, shee lookes my good button-breech
like the signe of Capricorne, or like Tiborne when it is couer'd with
snow.

|1125| _Sir quin._ All's one for that, she has a vizard in a bagge,
will make her looke like an Angell; I wod I had her, vpon condition, I
gaue thee this chaine manlie Tucca.

_Tuc._ I? saist thou so Friskin? I haue her ath hip for some causes, I
can sound her, she'll come at my becke.

|1130| _Sir quin._ Wod I could sound her too Noble commaunder.

_Tuc._ Thou shalt doo't; that Lady ath Lake is thine Sir Tristram, lend
mee thy chaine, doe, lend it, Ile make her take it as a token, Ile
lincke her vnto thee; and thou shalt weare her gloue in thy Worshipfull
hatte like to a leather brooch; Nay and thou |1135| mistrusts thy
coller, be tyed in't still.

_Sir quin._ Mistrust Captaine? no, heere tis, giue it her if she'll
take it, or weare it thy selfe, if shee'll take mee, Ile watch him well
enough too.

_Tuc._ No more, Ile shoote away yonder Prickshaft, and then |1140|
belabour her, and flye you after yonder Cucko: dost heere me my noble
Gold-finch?----

_Sir qui._ No more.

_Tuc._ How dost thou my smug Belimperia? how dost thou? hands off my
little bald Derricke, hands off: harke hether |1145| Susanna, beware a
these two wicked Elders, shall I speake well or ill of thee?

_Min._ Nay, eene as you please Captaine, it shal be at your choise.

_Tuc._ Why well said, my nimble Short-hose.

|1150| _Sir quin._ I heare her, I heare her.

_Tuc._ Art angry father time? art angrie because I tooke mother-Winter
aside? Ile holde my life thou art strucke with Cupids Birde-bolt, my
little prickshaft, art? dost loue that mother Mumble-crust, dost thou?
dost long for that whim-wham?

|1155| _Sir Ada._ Wod I were as sure to lye with her, as to loue her.

_Tuc._ Haue I found thee my learned Dunce, haue I found thee? If
I might ha my wil, thou shouldst not put thy spoone into that
bumble-broth (for indeede Ide taste her my selfe) no thou shouldst not;
yet if her beautie blinde thee, she's thine, I can doo't, thou |1160|
heardst her say eene now, it should bee at my choice.

_Sir Ada._ She did so, worke the match and Ile bestow--

_Tuc._ Not a silke point vpon mee, little Adam shee shall bee thy Eeue,
for lesse then an Apple; but send, bee wise, send her some token,
shee's greedie, shee shall take it, doe, send, thou |1165| shalt sticke
in her (Prickeshaft) but send.

_Sir Adam._ Heer's a purse of golde, thinke you that wil be accepted?

_Tuc._ Goe to, it shall bee accepted, and twere but siluer, when that
Flea-bitten Short-hose steppes hence: vanish too, and let |1170| mee
alone with my Grannam in Gutter-Lane there, and this purse of golde
doe, let me alone.

_Sir quint._ The King, gods Lord, I doe forget the King; Widdow, thinke
on my wordes, I must be gone To waite his rising, Ile returne anone.

|1175| _Sir Ad._ Stay Sir Quintilian, Ile be a waiter too.

_Sir quinti._ Widdow wee'll trust that Captaine there with you.

                                                              _Exeunt._

_Tuc._ Now, now, mother Bunch how dost thou? what dost frowne Queene
Gwyniuer? dost wrinckle? what made these paire |1180| of Shittle-cockes
heere? what doe they fumble for? Ile ha none of these Kites fluttering
about thy carkas, for thou shalt bee my West Indyes, and none but trim
Tucca shall discouer thee.

_Min._ Discouer me? discouer what thou canst of me.

_Tuc._ What I can? thou knowst what I can discouer, but I will |1185|
not lay thee open to the world.

_Min._ Lay me open to the world?

_Tuc._ No I will not my moldie decay'd Charing-crosse, I will not.

_Mi._ Hang thee patch-pannell, I am none a thy Charing-crosse: I scorne
to be Crosse to such a scab as thou makst thy selfe.

|1190| _Tuc._ No, tis thou makst me so, my Long Meg a Westminster, thou
breedst a scab, thou--

_Min._ I? dam thee filthie Captaine, dam thy selfe.

_Tuc._ My little deuill a Dow-gate, Ile dam thee, (thou knowst my
meaning) Ile dam thee vp; my wide mouth at Bishops-gate.

|1195| _Min._ Wod I might once come to that damming.

_Tuc._ Why thou shalt, my sweet dame Annis a cleere thou shalt, for Ile
drowne my selfe in thee; I, for thy loue, Ile sinke, I, for thee.

_Min._ So thou wilt I warrant, in thy abhominable sinnes; Lord, |1200|
Lord, howe many filthy wordes hast thou to answere for.

_Tuc._ Name one Madge-owlet, name one, Ile answer for none; my words
shall be foorth comming at all times, & shall answer for them selues;
my nimble Cat-a-mountaine: they shall Sislie Bum-trincket, for Ile
giue thee none but Suger-candie wordes, I |1205| will not Pusse: goody
Tripe-wife, I will not.

_Min._ Why dost call mee such horrible vngodlie names then?

_Tuc._ Ile name thee no more Mother Red-cap vpon paine of death, if
thou wilt Grimalkin, Maggot-a-pye I will not.

_Min._ Wod thou shouldst wel know, I am no Maggot, but a |1210| meere
Gentlewoman borne.

_Tu._ I know thou art a Gentle, and Ile nibble at thee, thou shalt
be my Cap-a-maintenance, & Ile carrie my naked sword before thee, my
reuerend Ladie Lettice-cap.

_Mi._ Thou shalt carry no naked swords before me to fright me,
|1215| thou--

_Tuc._ Go too, let not thy tongue play so hard at hot-cockles; for,
Gammer Gurton, I meane to bee thy needle, I loue thee, I loue thee,
because thy teeth stand like the Arches vnder London Bridge, for thou't
not turne Satyre & bite thy husband; No, come my little |1220| Cub, doe
not scorne mee because I goe in Stag, in Buffe, heer's veluet too; thou
seest I am worth thus much in bare veluet.

_Min._ I scorne thee not, not I.

_Tuc._ I know thou dost not, thou shat see that I could march with two
or three hundred linkes before me, looke here, what? |1225| I could
shew golde too, if that would tempt thee, but I will not make my selfe
a Gold-smithes stall I; I scorne to goe chain'd my Ladie ath Hospitall,
I doe; yet I will and must bee chain'd to thee.

_Min._ To mee? why Master Captaine, you know that I haue my |1230|
choise of three or foure payre of Knights, and therefore haue small
reason to flye out I know not how in a man of war.

_Tuc._ A man a warre? come thou knowst not what a worshipfull focation
tis to be a Captaines wife: three or four payre of Knights? why dost
heare Ioane-a-bedlam, Ile enter into bond to |1235| be dub'd by what
day thou wilt, when the next action is layde vpon me, thou shalt be
Ladified.

_Min._ You know I am offered that by halfe a dozen.

_Tuc._ Thou shalt little Miniuer, thou shalt, Ile ha this frock turn'd
into a foote-cloth; and thou shalt be carted, drawne I |1240| meane,
Coacht, Coacht, thou shalt ryde Iigga-Iogge; a Hood shall flap vp and
downe heere, and this shipskin-cap shall be put off.

_Mini._ Nay perdie, Ile put off my cap for no mans pleasure.

_Tuc._ Wut thou be proude little Lucifer? well, thou shalt goe
|1245| how thou wilt Maide-marian; come, busse thy little Anthony
now, now, my cleane Cleopatria; so, so, goe thy waies Alexis
secrets, th'ast a breath as sweet as the Rose, that growes by the
Beare-garden, as sweete as the proud'st heade a Garlicke in England:
come, wut march in, to the Gentle folkes?

|1250| _Mini._ Nay trulie Captaine you shall be my leader.

  _Tuc._ I say Mary Ambree, thou shalt march formost,
  Because Ile marke how broad th'art in the heeles.

_Mini._ Perdie, I will be set ath last for this time.

  _Tuc._ Why then come, we'll walke arme in arme,
  |1255| As tho we were leading one another to Newgate.

  _Enter_ Blunt, Crispinus, _and_ Demetrius, _with papers, laughing._

_Cri._ Mine's of a fashion, cut out quite from yours.

_Dem._ Mine has the sharpest tooth, yonder he is.

_Blu._ Captaine Tucca.

                                                  _All hold vp papers._

|1260| _Tuc._ How now? I cannot stand to read supplications now.

  _Cris._ They're bitter Epigrams compos'd on you
  By Horace.

  _Dem._ And disperst amongst the gallants
  In seuerall coppies, by Asinius Bubo.

|1265| _Tuc._ By that liue Eele? read, _Lege Legito_, read thou Iacke.

  _Blu._ _Tucca's growne monstrous, how? rich? that I feare,
  He's to be seene for money euery where._

_Tuc._ Why true, shall not I get in my debts, nay and the roague write
no better I care not, farewell blacke Iacke farewell.

|1270| _Cri._ But Captaine heer's a nettle.

_Tuc._ Sting me, doe.

  _Cri._ _Tucca's exceeding tall and yet not hye,
  He fights with skill, but does most vilye lye._

_Tuc._ Right, for heere I lye now, open, open, to make my |1275|
aduersarie come on; and then Sir, heere am I in's bosome: nay and this
be the worst, I shal hug the poore honest face-maker, Ile loue the
little Atheist, when he writes after my commendation, another whip?
come yerke me.

  _Dem._ _Tucca will bite, how? growne Satiricall,
  |1280| No, he bites tables, for he feedes on all._

  _Tuc._ The whoreson clouen-foote deuill in mans apparell lyes,
  There stood aboue forty dishes before me to day,
  That I nere toucht, because they were empty.

_Min._ I am witnes young Gentlemen to that.

|1285| _Tuc._ Farewell stinckers, I smel thy meaning Screech-owle, I
doe tho I stop my nose: and Sirra Poet, we'll haue thee vntrust for
this; come, mother Mum-pudding, come.

                                                              _Exeunt._

   _Trumpets sound a florish, and then a sennate: Enter_ King _with_
  Cælestine, Sir Walter Terrill, Sir Quintilian, Sir Adam, Blunt |1290|
  _and other Ladies and attendants: whilst the Trumpets sound the King_
  _takes his leaue of the Bride-groome, and_ Sir Quintilian, _and last
                            of the Bride._

  _Kin._ My song of parting doth this burden beare;
  A kisse the Ditty, and I set it heere.
  |1295| Your lips are well in tune, strung with delight,
  By this faire Bride remember soone at night:
  Sir Walter.

  _Ter._ My Leige Lord, we all attend,
  The time and place.

  |1300| _Kin._ Till then my leaue commend.

  _They bring him to the doore: Enter at another doore_ Sir Vaughan.

_Sir Vau._ Ladies, I am to put a verie easie suite vpon you all, and
to desire you to fill your little pellies at a dinner of plums behinde
noone; there be Suckets, and Marmilads, and Marchants, |1305| and other
long white plummes that faine would kisse your delicate and sweet
lippes; I indite you all together, and you especially my Ladie Pride;
what doe you saie for your selles? for I indite you all.

_Cæl._ I thanke you good Sir Vaughan, I will come.

|1310| _Sir Vau._ Say Sentlewomen will you stand to me too?

_All._ Wee'll sit with you sweet Sir Vaughan.

_Sir Vau._ God a mightie plesse your faces, and make your peauties
last, when wee are all dead and rotten:--you all will come.

_1 Lady._ All will come.

|1315| _Sir Vau._ Pray God that Horace bee in his right wittes to raile
now.

                                                                _Exit._

  _Cris._ Come Ladie, you shall be my dauncing guest
  To treade the maze of musicke with the rest.

_Dem._ Ile lead you in.

  |1320| _Dicach._ A maze is like a doubt:
  Tis easie to goe in, hard to get out.

_Blun._ We follow close behinde.

  _Philoca._ That measure's best.
  Now none markes vs, but we marke all the rest.

                                                              _Exeunt._

      |1325| _Exeunt all sauing_ Sir Quintilian, Cælestine, _and_
                          Sir Walter Terrill.

  _Ter._ Father, and you my Bride; that name to day,
  Wife, comes not till to morrow: but omitting
  This enterchange of language; let vs thinke
  Vpon the King and night, and call our spirits
  |1330| To a true reckoning; first to Arme our wittes
  With compleat steele of Iudgement, and our tongs,
  With sound attillery of Phrases: then
  Our Bodies must bee motions; moouing first
  What we speake: afterwards, our very knees
  |1335| Must humbly seeme to talke, and sute our speech;
  For a true furnisht Cortyer hath such force,
  Though his tonge faints, his very legs discourse.

  _Sir quin._ Sonne Terrill, thou hast drawne his picture right,
  For hee's noe full-made Courtier, nor well strung,
  |1340| That hath not euery ioynt stucke with a tongue.
  Daughter, if Ladies say, that is the Bride, that's she,
  Gaze thou at none, for all will gaze at thee.

  _Cæl._ Then, ô my father must I goe? O my husband
  Shall I then goe? O my selfe, will I goe?

  |1345| _Sir quin._ You must.

  _Ter._ You shall.

  _Cæl._ I will, but giue me leaue,
  To say I may not, nor I ought not, say not
  |1350| Still, I must goe, let me intreate I may not.

  _Ter._ You must and shall, I made a deede of gift,
  And gaue my oath vnto the King, I swore
  By thy true constancy.

  _Cæl._ Then keep that word
  |1355| To sweare by, O let me be constant still.

  _Ter._ What shall I cancell faith, and breake my oath?

  _Cæl._ If breaking constancie, thou breakst them both.

  _Ter._ Thy constancie no euill can pursue.

  _Cæl._ I may be constant still, and yet not true.

  |1360| _Ter._ As how?

  _Cæl._ As thus, by violence detain'd,
  They may be constant still, that are constrain'd.

  _Ter._ Constrain'd? that word weighs heauy, yet my oath
  Weighes downe that word; the kinges thoughts are at oddes,
  |1365| They are not euen ballanst in his brest;
  The King may play the man with me; nay more,
  Kings may vsurpe; my wife's a woman; yet
  Tis more then I know yet, that know not her,
  If she should prooue mankinde, twere rare, fye, fye,
  |1370| See how I loose my selfe, amongst my thoughts,
  Thinking to finde my selfe; my oath, my oath.

  _Sir quin._ I sweare another, let me see, by what,
  By my long stocking, and my narrow skirtes,
  Not made to sit vpon, she shall to Court.
  |1375| I haue a tricke, a charme, that shall lay downe
  The spirit of lust, and keep thee vndeflowred;
  Thy husbands honor sau'd, and the hot King,
  Shall haue enough too. Come, a tricke, a charme.

                                                                _Exit._

  _Cæl._ God keep thy honour safe, my bloud from harme.

  |1380| _Ter._ Come, my sicke-minded Bride, Ile teach thee how,
  To relish health a little: Taste this thought,
  That when mine eyes seru'd loues commission,
  Vpon thy beauties I did seise on them,
  To a Kings vse; cure all thy griefe with this,
  |1385| That his great seale was grauen vpon this ring,
  And that I was but Steward to a King.

                                                              _Exeunt._

     _A banquet set out: Enter_ Sir Vaughan, Horace, Asinius Bubo,
      _Lady_ Petula, Dicache, Philocalia, _Mistris_ Miniuer _and_
                             Peter Flash.

|1390| _Sir Vaugh._ Ladies and Sentlemen, you are almost all welcome,
to this sweet nuncions of Plums.

_Dicach._ Almost all Sir Vaughan? why to which of vs are you so
niggardly, that you cut her out but a peice of welcome.

_Sir Vaugh._ My interpretations is that almost all are welcome, |1395|
because I indited a brace or two more that is not come, I am sorrie my
Ladie Pride is not among you.

_Asi._ Slid, he makes hounds of vs Ningle, a brace quoth a?

_Sir Vaug._ Peter Salamanders draw out the pictures of all the ioynt
stooles, & Ladies sit downe vpon their wodden faces.

|1400| _Flash._ I warrant Sir, Ile giue euerie one of them a good
stoole.

_Sir Vau._ Master Horace, Master Horace, when I pray to God, and desire
in hipocritnes that bald Sir Adams were heer, then, then, then begin to
make your railes at the pouertie and beggerly want of haire.

|1405| _Hor._ Leaue it to my iudgement.

_Sir Vau._ M. Bubo sit there, you and I wil thinke vpon our ends at
the Tables: M. Horace, put your learned bodie into the midst of these
Ladies; so tis no matter to speake graces at nuncions, because we are
all past grace since dinner.

|1410| _Asini._ Mas I thanke my destinie I am not past grace, for by
this hand full of Carrawaies, I could neuer abide to say grace.

_Dica._ Mistris Miniuer, is not that innocent Gentleman a kinde of
foole?

_Min._ Why doe you aske Madam?

|1415| _Dicach._ Nay for no harme, I aske because I thought you two had
been of acquaintaine.

_Min._ I thinke he's within an Inch of a foole.

_Dicach._ Madam Philocalia, you sit next that spare Gentleman, wod you
heard what Mistris Miniuer saies of you.

|1420| _Philo._ Why what saies she Madam Dicache.

_Dica._ Nay nothing, but wishes you were married to that small timber'd
gallant.

_Philo._ Your wish and mine are twinnes, I wish so too, for Then I
should be sure to lead a merrie life.

|1425| _Asini._ Yes faith Ladie, Ide make you laugh, my bolts now and
then should be soone shot; by these comfits, weed let all slide.

_Petu._ He takes the sweetest oathes that euer I heard a gallant of his
pitch sweare; by these Comfits, & these Carrawaies, I warrant it does
him good to sweare.

  |1430| _Asin._ Yes faith tis meate and drinke to me.
  I am glad Ladie Petula (by this Apple) that they please you.

_Sir Vau._ Peter Salamanders wine, I beseech you Master Asinius Bubo,
not to sweare so deeplie, for there comes no fruite of your oathes;
heere Ladies, I put you all into one corners together, |1435| you shall
all drinke of one cup.

_Asi._ Peter I prethee fill me out too.

_Flash._ Ide fling you out too and I might ha my will, a pox of all
fooles.

_Sir Vau._ Mistris Miniuers, pray bee lustie, wod Sir Adams |1440|
Prickshaft stucke by you.

_Hor._ Who, the balde Knight Sir Vaughan?

_Sir Vau._ The same M. Horace, he that has but a remnant or parcell of
haire, his crowne is clipt and par'd away; me thinkes tis an excellent
quallitie to bee balde; for and there stucke a |1445| nose and two nyes
in his pate, he might weare two faces vnder one hood.

_Asi._ As God saue me la, if I might ha my will, Ide rather be a balde
Gentleman then a hairy; for I am sure the best and tallest Yeomen in
England haue balde heads: me thinkes haire is a |1450| scuruie lowsie
commodity.

_Hor._ Bubo, heerein you blaze your ignorance.

_Sir Vau._ Pray stop and fill your mouthes, and giue M. Horace all your
eares.

  _Hor._ _For, if of all the bodies parts, the head
  |1455| Be the most royall: if discourse, wit, Iudgement,
  And all our vnderstanding faculties,
  Sit there in their high Court of Parliament,
  Enacting lawes to sway this humorous world:
  This little Ile of Man: needes must that crowne,
  |1460| Which stands vpon this supreame head, be faire,
  And helde inualuable, and that crowne's the_ Haire:
  _The head that wants this honour stands awry,
  Is bare in name and in authority_.

_Sir Vau._ He meanes balde-pates Mistris Miniuers.

  |1465| _Hor._ Haire, _tis the roabe which curious nature weaues,
  To hang vpon the head: and does adorne,
  Our bodies in the first houre we are borne:
  God does bestow that garment: when we dye,
  That (like a soft and silken Canopie)
  |1470| Is still spred ouer vs; In spight of death
  Our hayre growes in our graue, and that alone
  Lookes fresh, when all our other beauty's gone.
  The excellence of_ Haire, _in this shines cleere,
  That the foure Elements take pride to weare
  |1475| The fashion of it: when_ Fire _most bright does burne,
  The flames to golden lockes doe striue to turne;
  When her lasciuious armes the_ Water _hurles,
  About the shoares wast, her sleeke head she curles:
  And rorid cloudes being suckt into the_ Ayre,
  |1480| _When downe they melt, hangs like fine siluer hayre.
  You see the_ Earth _(whose head so oft is shorne)
  Frighted to feele her lockes so rudely torne,
  Stands with her haire an end, and (thus afraide)
  Turnes euery haire to a greene naked blade.
  |1485| Besides, when (strucke with griefe) we long to dye,
  We spoile that most, which most does beautifie,
  We rend this_ Head-tyre _off. I thus conclude,
  Cullors set cullors out; our eyes iudge right,
  Of vice or vertue by their opposite:
  |1490| So, if faire haire to beauty ad such grace,
  Baldnes must needes be vgly, vile and base._

_Sir Vau._ True M. Horace, for a bald reason, is a reason that has no
haires vpon't, a scuruy scalded reason.

_Mi._ By my truely I neuer thought you could ha pickt such |1495|
strange things out of haire before.

_Asini._ Nay my Ningle can tickle it, when hee comes too't.

_Min._ Troth I shall neuer bee enameld of a bare-headed man for this,
what shift so euer I make.

_Sir Vaug._ Then Mistris Miniuer S. Adams Prickshaft must not |1500|
hit you; Peter take vp all the cloathes at the table and the Plums.

                     _Enter_ Tucca _and his boy_.

_Tuc._ Saue thee my little worshipfull Harper; how doe yee my little
cracknels? how doe ye?

|1505| _Sir Vau._ Welcome M. Tucca, sit and shoote into your belly some
Suger pellets.

_Tuc._ No, Godamercy Cadwallader, how doe you Horace?

_Ho._ Thankes good Captaine.

_Tu._ Wher's the Sering thou carriest about thee? O haue I found |1510|
thee my scowring-sticke; what's my name Bubo?

_Asini._ Wod I were hang'd if I can call you any names but Captaine and
Tucca.

_Tuc._ No Fye'st; my name's Hamlet reuenge: thou hast been at Parris
garden hast not?

|1515| _Hor._ Yes Captaine, I ha plaide Zulziman there.

_Sir Vau._ Then M. Horace you plaide the part of an honest man.

_Tuc._ Death of Hercules, he could neuer play that part well in's life,
no Fulkes you could not: thou call'st Demetrius Iorneyman Poet, but
thou putst vp a Supplication to be a poore Iorneyman |1520| Player, and
hadst beene still so, but that thou couldst not set a good face vpon't:
thou hast forgot how thou amblest (in leather pilch) by a play-wagon,
in the high way, and took'st mad Ieronimoes part, to get seruice among
the Mimickes: and when the Stagerites banisht thee into the Ile of
Dogs, thou turn'dst Bandog |1525| (villanous Guy) & euer since bitest
therefore I aske if th'ast been at Parris-garden, because thou hast
such a good mouth; thou baitst well, read, _lege_, saue thy selfe and
read.

_Hor._ Why Captaine these are _Epigrams_ compos'd on you.

_Tuc._ Goe not out Farding Candle, goe not out, for trusty _Damboys_
|1530| now the deed is done, Ile pledge this Epigram in wine, Ile
swallow it, I, yes.

_Sir Vau._ God blesse vs, will he be drunke with nittigrams now.

_Tuc._ So, now arise sprite ath Buttry; no Herring-bone Ile not pull
thee out, but arise deere Eccho rise, rise deuill or Ile coniure |1535|
thee vp.

_Min._ Good Master Tucca lets ha no coniuring heere.

_Sir Vau._ Vddes bloud you scald gouty Captaine, why come you to set
encombrances heere betweene the Ladies.

_Tuc._ Be not so tart my precious Metheglin, be not (my old |1540|
whore a Babilon, sit fast.)

_Min._ O Iesu if I know where abouts in London Babilon stands.

_Tuc._ Feede and be fat my faire Calipolis, stir not my beauteous
wriggle-tailes, Ile disease none of you, Ile take none of you vp, but
onely this table-man, I must enter him into some filthy |1545| sincke
point, I must.

_Hor._ Captaine, you doe me wrong thus to disgrace me.

_Tuc._ Thou thinkst thou maist be as sawcy with me as my Buffe Ierkin,
to sit vpon me, dost?

  _Ho._ Dam me, if euer I traduc'd your name,
  |1550| What imputation can you charge me with?

_Sir Vau._ Sblud, I, what cõputations can you lay to his sarge? answer,
or by Sesu Ile canuas your coxcombe Tucky.

_Min._ If they draw sweet hearts, let vs shift for our selues.

_Tuc._ My noble swaggerer, I wil not fall out with thee, I cannot
|1555| my mad Cumrade, finde in my heart to shed thy bloud.

_Sir Vau._ Cumrade? by Sesu call me Cumrade againe, and Ile Cumrade
ye about the sinnes and shoulders; ownds, what come you to smell out
heere? did you not dine and feede horribly well to day at dinner, but
you come to munch heere, and giue vs |1560| winter-plummes? I pray
depart, goe marse, marse, marse out a doores.

_Tuc._ Adew Sir Eglamour, adew Lute-stringe, Curtin-rod, Goose-quill;
heere, giue that full-nos'd Skinker, these rimes; & harke, Ile tagge my
Codpeece point with thy legs, spout-pot Ile |1565| empty thee.

_Asin._ Dost threaten mee? Gods lid Ile binde thee to the good
forbearing.

_Sir Vau._ Will you amble Hobby-horse, will you trot and amble?

|1570| _Tuc._ Raw Artichocke I shall sauce thee.

                                                                _Exit._

_Min._ I pray you Master Tucca, will you send me the fiue pound you
borrowed on me; O you cannot heare now, but Ile make you heare me and
feele me too in another place, to your shame I warrant you, thou shalt
not conny-catch mee for fiue pounds; |1575| he tooke it vp Sir Vaughan
in your name, hee swore you sent for it to Mum withall, twas fiue pound
in gold, as white as my kercher.

_Sir Vaughan._ Ownds, fiue pound in my name to Mum about withall.

|1580| _Min._ I, to Mum withall, but hee playes mum-budget with me.

_Sir Vau._ Peter Salamander, tye vp your great and your little sword,
by Sesu Ile goe sing him while tis hot. Ile beate fiue pound out of his
leather pilch: Master Horace, let your wittes inhabite in your right
places; if I fall hansomely vpon the Widdow, |1585| I haue some cossens
Garman at Court, shall beget you the reuersion of the Master of the
Kings Reuels, or else be his Lord of Mis-rule nowe at Christmas: Come
Ladyes, whoreson Stragling Captaine, Ile pound him.

                                                              _Exeunt._

                     _Manet_ Horace _and_ Asinius.

|1590| _Hor._ How now? what ail'st thou, that thou look'st so pale.

_Asin._ Nay nothing, but I am afraide the Welsh Knight has giuen me
nothing but purging Comfits: this Captaine stickes pockily in my
stomack; read this scroule, he saies they'r rimes, and bid me giue them
you.

|1595| _Hor._ Rimes? tis a challenge sent to you.

_Asin._ To me?

_Hor._ He saies heere you divulg'd my Epigrams.

_Asin._ And for that dares he challenge me?

_Hor._ You see he dares, but dare you answer him?

|1600| _Asin._ I dare answer his challenge, by word of mouth, or by
writing, but I scorne to meete him, I hope he and I are not Paralels.

  _Hor._ Deere Bubo, thou shalt answere him; our credites
  Lye pawn'd vpon thy resolution,
  |1605| Thy vallor must redeeme them; charge thy spirits,
  To waite more close, and neere thee: if he kill thee,
  Ile not suruiue; into one Lottery
  We'll cast our fates; together liue and dye.

_Asi._ Content, I owe God a death, and if he will make mee |1610| pay't
against my will, Ile say tis hard dealing.

                                                              _Exeunt._

   _Enter_ Sir Adam, Tucca, _with two pistols by his sides, his boy
                   laden with swords and bucklers._

_Tuc._ Did Apolloes Freeze gowne watchman (boy, dost heare
Turkie-cockes tayle, haue an eye behinde, least the enemie assault
|1615| our Rere-ward) on proceede Father Adam; did that same
tiranicall-tongu'd rag-a-muffin Horace, turne bald-pates out so naked?

  _Sir Ad._ He did, and whipt them so with nettles, that
  The Widdow swore that a bare-headed man,
  |1620| Should not man her: the Ladie Petula
  Was there, heard all, and tolde me this.

_Tuc._ Goe too. Thy golde was accepted, it was, and she shall bring
thee into her Paradice, she shall small Adam, she shall.

_Sir Ada._ But how? but how Capten?

|1625| _Tuc._ Thus, goe, couer a table with sweet meates, let all the
Gentlewomen, and that same Pasquils-mad-cap (mother Bee there) nibble,
bid them bite: they will come to gobble downe Plummes; then take vp
that paire of Basket hiltes, with my commission, I meane Crispinus and
Fannius; charge one of |1630| them to take vp the Bucklers, against
that hayre-monger Horace, and haue a bout or two, in defence of
balde-pates: let them cracke euerie crowne that has haire on't: goe,
let them lift vp baldenes to the skie, and thou shalt see, twill turne
Miniuers heart quite against the haire.

|1635| _Sir Ada._ Excellent, why then M. Tucca----

_Tuc._ Nay, whir, nymble Prickshaft; whir, away, I goe vpon life and
death, away, flie Scanderbag flie.

                                                                _Exit._

             _Enter_ Asinius Bubo, _and_ Horace _aloofe_.

_Boy._ Arme Captaine, arme, arme, arme, the foe is come downe.

|1640| Tucca _offers to shoote_.

_Asi._ Hold Capten Tucca holde, I am Bubo, & come to answer any thing
you can lay to my charge.

_Tuc._ What, dost summon a parlie my little Drumsticke? tis too late;
thou seest my red flag is hung out, Ile fill thy guts |1645| with thine
owne carrion carcas, and then eate them vp in steed of Sawsages.

_Asin._ Vse me how you will; I am resolute, for I ha made my Will.

_Tuc._ Wilt fight Turke-a-ten-pence? wilt fight then?

|1650| _Asini._ Thou shalt finde Ile fight in a Godly quarrell, if I be
once fir'd.

_Tuc._ Thou shalt not want fire, Ile ha thee burnt when thou wilt, my
colde Cornelius: but come: _Respice funem_; looke, thou seest; open thy
selfe my little Cutlers Shoppe, I challenge thee |1655| thou slender
Gentleman, at foure sundrie weapons.

_Asi._ Thy challenge was but at one, and Ile answere but one.

_Boy._ Thou shalt answer two, for thou shalt answer me and my Capten.

_Tuc._ Well said Cockrell out-crowe him: art hardy noble Huon? |1660|
art Magnanimious? licke-trencher; looke, search least some lye in
ambush; for this man at Armes has paper in's bellie, or some friend in
a corner, or else hee durst not bee so cranke.

_Boy._ Capten, Capten, Horace stands sneaking heere.

_Tuc._ I smelt the foule-fisted Morter-treader, come my most |1665|
damnable fastidious rascall, I haue a suite to both of you.

_Asi._ O holde, most pittifull Captaine holde.

_Hor._ Holde Capten, tis knowne that Horace is valliant, & a man of the
sword.

_Tuc._ A Gentleman or an honest Cittizen, shall not Sit in your |1670|
pennie-bench Theaters, with his Squirrell by his side cracking nuttes;
nor sneake into a Tauerne with his Mermaid; but he shall be Satyr'd,
and Epigram'd vpon, and his humour must run vpo'th Stage: you'll ha
_Euery Gentleman in's humour_, and _Euery Gentleman out on's humour_:
wee that are heades of Legions and |1675| Bandes, and feare none but
these same shoulder-clappers, shall feare you, you Serpentine rascall.

_Hor._ Honour'd Capten.

_Tuc._ Art not famous enough yet, my mad _Horastratus_, for killing
a Player, but thou must eate men aliue? thy friends? Sirra |1680|
wilde-man, thy Patrons? thou Anthropophagite, thy Mecænasses?

  _Hor._ Captaine, I'm sorry that you lay this wrong
  So close vnto your heart: deare Captaine thinke
  I writ out of hot bloud, which (now) being colde,
  I could be pleas'd (to please you) to quaffe downe,
  |1685| The poyson'd Inke, in which I dipt your name.

_Tuc._ Saist thou so, my _Palinodicall_ rimester?

  _Hor._ Hence forth Ile rather breath out _Solœcismes_
  (To doe which Ide as soone speake blasphemie)
  Than with my tongue or pen to wound your worth,
  |1690| Beleeue it noble Capten; it to me
  Shall be a Crowne, to crowne your actes with praize,
  Out of your hate, your loue Ile stronglie raize.

_Tuc._ I know now th'ast a number of these _Quiddits_ to binde men
to'th peace: tis thy fashion to flirt Inke in euerie mans face; and
|1695| then to craule into his bosome, and damne thy selfe to wip't off
agen: yet to giue out abroad, that hee was glad to come to composition
with thee: I know _Monsieur Machiauell_ tis one a thy rules; My
long-heel'd T_roglodite_, I could make thine eares burne now, by
dropping into them, all those hot oathes, to which, thy selfe |1700|
gau'st voluntarie fire, (whē thou wast the man in the Moone) that thou
wouldst neuer squib out any new Salt-peter Iestes against honest Tucca,
nor those Maligo-tasters, his _Poetasters_; I could Cinocephalus, but
I will not, yet thou knowst thou hast broke those oathes in print, my
excellent infernall.

|1705| _Ho._ Capten.

_Tuc._ Nay I smell what breath is to come from thee, thy answer is,
that there's no faith to be helde with Heritickes & Infidels, and
therfore thou swear'st anie thing: but come, lend mee thy hand, thou
and I hence forth will bee _Alexander_ and _Lodwicke_, the |1710|
Gemini: sworne brothers, thou shalt be _Perithous_ and Tucca _Theseus_;
but Ile leaue thee i'th lurch, when thou mak'st thy voiage into hell:
till then, T_hine-assuredly_.

_Hor._ With all my soule deare Capten.

_Tuc._ Thou'lt shoote thy quilles at mee, when my terrible |1715|
backe's turn'd for all this, wilt not Porcupine? and bring me & my
Heliconistes into thy Dialogues to make vs talke madlie wut not Lucian?

_Hor._ Capten, if I doe----

_Tuc._ Nay and thou dost, hornes of Lucifer, the _Parcell-Poets_ |1720|
shall Sue thy wrangling Muse, in the Court of Pernassus, and neuer
leaue hunting her, till she pleade in _Forma Pauperis_: but I hope
th'ast more grace: come: friendes, clap handes, tis a bargaine; amiable
Bubo, thy fist must walke too: so, I loue thee, now I see th'art a
little Hercules, and wilt fight; Ile Sticke thee |1725| now in my
companie like a sprig of Rosemary.

            _Enter_ Sir Rees ap Vaughan _and_ Peter Flash.

_Fla._ Draw Sir Rees he's yonder, shall I vpon him?

_Sir Vau._ Vpon him? goe too, goe too Peter Salamander; holde, in Gods
name holde; I will kill him to his face, because I meane he |1730|
shall answer for it; being an eye-witnes; one vrde Capten Tucky.

_Tuc._ Ile giue thee ten thousand words and thou wilt, my little Thomas
Thomasius.

_Sir Vau._ By Sesu, tis best you giue good vrdes too, least I beate out
your tongue, and make your vrde nere to bee taken |1735| more; doe you
heare, fiue pounds, fiue pounds Tucky.

_Tuc._ Thou shalt ha fiue, and fiue, and fiue, and thou wantst money my
Iob.

_Sir Vau._ Leaue your fetches and your fegaries, you tough
leather-Ierkins; leaue your quandaries, and trickes, and draw vpon
|1740| me y' are best: you conny-catch Widdow _Miniuer-caps_ for fiue
pounds, and say tis for me to cry Mum, and make mee run vp and downe in
dishonors, and discredites; is 't not true, you winke-a-pipes rascall?
is not true?

_Tuc._ Right, true, guilty, I remember't now; for when I spake |1745|
a good word to the Widdow for thee my young Sampson----

_Sir Vau._ For fiue pounds you cheating scab, for 5. pounds, not for me.

_Tuc._ For thee ô Cæsar, for thee I tooke vp fiue pounds in golde, that
lay in her lap, & said Ide giue it thee as a token |1750| from her: I
did it but to smell out how she stood affected to thee, to feele her;
I, and I know what she said, I know how I carried away the golde.

_Sir Vau._ By Sesu, I ha not the mercy to fall vpon him now: M. Tucky,
did widdow Miniuers part quietly from her golde, |1755| because you
lyed, and said it was for me?

_Tuc._ Quietly, in peace, without grumbling; made no noise, I know how
I tempted her in thy behalfe; my little Trangdo.

_Sir Vau._ Capten Tucky, I will pay back her 5. £. (vnles you be damn'd
in lyes) & hold you, I pray you pocket vp this; by the |1760| crosse a
this sword & dagger, Capten you shall take it.

_Tuc._ Dost sweare by daggers? nay then Ile put vp more at thy hands
then this.

_Flash._ Is the fray done sir?

_Sir Vau._ Done Peter, put vp your smeeter.

|1765| _Tuc._ Come hether, my soure-fac'd Poet; fling away that
beard-brush Bubo, casheere him and harke: Knight attend: So, that
raw-head and bloudy-bones Sir Adam, has fee'd another brat (of those
nine common wenches) to defend baldnes and to raile against haire:
he'll haue a fling at thee, my noble Cock-Sparrow.

|1770| _Sir Vau._ At mee? will hee fling the cudgels of his witte at
mee?

_Tuc._ And at thy button-cap too; but come, Ile be your leader, you
shall stand, heare all, & not be seene; cast off that blew coate, away
with that flawne, and follow, come.

                                                                _Exit._

_Hor._ Bubo, we follow Captaine.

|1775| _Sir Va._ Peter, leaue comming behinde me, I pray any longer,
for you and I must part Peter.

_Flash._ Sounds Sir, I hope you will not serue me so, to turne me away
in this case.

_Sir Vau._ Turne you into a fooles coate; I meane I will go _solus_,
|1780| or in solitaries alone; ounds y-are best giue better words, or
Ile turne you away indeed; where is Capten Tucky? come Horace; get you
home Peter.

_Flash._ Ile home to your cost, and I can get into the Wine-Seller.

                                                                _Exit._

|1785| _Hor._ Remember where to meete mee.

_Asin._ Yes Ile meete; Tucca should ha found I dare meete.

                                                                _Exit._

  _Ho._ Dare defend baldnes, which our conquering Muse
  Has beaten downe so flat? Well, we will goe,
  |1790| And see what weapons theyr weake wittes doe bring;
  If sharpe, we'll spred a large and nobler wing;
  Tucca, heere lyes thy Peace: warre roares agen;
  My Swoord shall neuer cutte thee, but my pen.

                                                                _Exit._

     _Enter_ Sir Adam, Crispinus, Fannius, Blunt, Miniuer, Petula,
                    |1795| Philocalia _and_ Dicace.

_Ladies._ Thankes good Sir Adam.

  _Sir Ada._ Welcome red-cheekt Ladies,
  And welcome comely Widdow; Gentlemen,
  Now that our sorry banquet is put by,
  |1800| From stealing more sweet kisses from your lips
  Walke in my garden: Ladyes let your eyes
  Shed life into these flowers by their bright beames,
  Sit, Sit, heere's a large bower, heere all may heare,
  Now good Crispinus let your praize begin
  |1805| There, where it left off Baldnes.

  _Cris._ I shall winne
  No praise, by praising that, which to depraue,
  All tongues are readie, and which none would haue.

  _Blu._ To prooue that best, by strong and armed reason,
  |1810| Whose part reason feares to take, cannot but prooue,
  Your wit's fine temper, and from these win loue.

_Min._ I promise you has almost conuerted me, I pray bring forward your
bald reasons M. Poet.

  _Cri._ Mistris you giue my Reasons proper names,
  |1815| For Arguments (like Children) should be like,
  The subiect that begets them; I must striue
  To crowne _Bald heades_, therefore must baldlie thriue;
  But be it as it can: To what before,
  Went arm'd at table, this force bring I more,
  |1820| If a _Bare head_ (being like a dead-mans scull)
  Should beare vp no praise els but this, it sets
  Our end before our eyes; should I dispaire,
  From giuing _Baldnes_ higher place then haire?

_Mini._ Nay perdie, haire has the higher place.

  |1825| _Cri._ The goodliest & most glorious strange-built wonder,
  Which that great Architect hath made, is heauen;
  For there he keepes his Court, It is his Kingdome,
  That's his best Master-piece; yet tis the roofe,
  And Seeling of the world: that may be cal'd
  |1830| The head or crowne of Earth, and yet that's balde,
  All creatures in it balde; the louely _Sunne_,
  Has a face sleeke as golde; the full-cheekt _Moone_,
  As bright and smooth as siluer: nothing there
  Weares dangling lockes, but sometime blazing Starres,
  |1835| Whose flaming curles, set realmes on fire with warres.
  Descend more low; looke through mans fiue-folde sence,
  Of all, the _Eye_, beares greatest eminence;
  And yet that's balde, the haires that like a lace,
  Are sticht vnto the liddes, borrow those formes,
  |1840| Like Pent-houses to saue the eyes from stormes.

_Sir Adam._ Right, well said.

  _Cris._ A head and face ore-growne with Shaggie drosse,
  O, tis an Orient pearle hid all in Mosse,
  But when the head's all naked and vncrown'd,
  |1845| It is the worlds _Globe_, euen, smooth and round;
  _Baldnes_ is natures But, at which our life,
  Shootes her last Arrow: what man euer lead
  His age out with a staffe, but had a head
  Bare and vncouer'd? hee whose yeares doe rise,
  |1850| To their full height, yet not balde, is not wise.
  The _Head_ is Wisedomes house, _Haire_ but the thatch,
  _Haire_? It's the basest stubble; in scorne of it,
  This Prouerbe sprung, _he has more haire then wit_:
  Marke you not in derision how we call,
  |1855| A head growne thicke with haire, _Bush-naturall_?

_Min._ By your leaue (Master Poet) but that Bush-naturall, is one a the
trimmest, and most intanglingst beautie in a woman.

  _Cris._ Right, but beleeue this (_pardon me most faire_)
  You would haue much more wit, had you lesse haire:
  |1860| I could more wearie you to tell the proofes,
  (As they passe by) which fight on _Baldnes_ side,
  Then were you taskt to number on a head,
  The haires: I know not how your thoughts are lead,
  On this strong Tower shall my opinion rest,
  |1865| _Heades thicke of haire are goode, but balde the best_.

 _Whilst this Paradox is in speaking_, Tucca _Enters with_ Sir Vaughan
   _at one doore, and secretly placeth him: then Exit and brings in_
        Horace _muffled, placing him:_ Tucca _sits among them._

_Tuc._ Th'art within a haire of it, my sweete _Wit whether wilt thou_?
|1870| my delicate Poeticall Furie, th' ast hit it to a haire.

                       Sir Vaughan _steps out_.

_Sir Vau._ By your fauour Master Tucky, his balde reasons are wide
aboue two hayres, I besees you pardon mee Ladies, that I thrust in so
malepartly among you, for I did but mych heere, |1875| and see how this
cruell Poet did handle bald heades.

_Sir Ad._ He gaue them but their due Sir Vaughan; Widdow did he not?

_Mini._ By my faith he made more of a balde head, than euer I shall be
able: he gaue them their due truely.

|1880| _Sir Vaugh._ Nay vds bloud, their due is to bee a the right
haire as I am, and that was not in his fingers to giue, but in God a
Mighties: Well, I will hyre that humorous and fantasticall Poet Master
Horace, to breake your balde pate Sir Adam.

_Sir Ada._ Breake my balde pate?

|1885| _Tuc._ Dost heare my worshipfull block-head?

_Sir Vaug._ Patience Captaine Tucky, let me absolue him; I meane he
shal pricke, pricke your head or sconce a little with his goose-quils,
for he shal make another Thalimum, or crosse-stickes, or some
Polinoddyes, with a fewe Nappy-grams in them, |1890| that shall lift vp
haire, and set it an end, with his learned and harty commendations.

_Hor._ This is excellent, all will come out now.

_Dica._ That same Horace me thinkes has the most vngodly face, by my
Fan; it lookes for all the world, like a rotten russet |1895| Apple,
when tis bruiz'd: Its better then a spoonefull of Sinamon water next
my heart, for me to heare him speake; hee soundes it so i' th nose,
and talkes and randes for all the world, like the poore fellow vnder
Ludgate: oh fye vpon him.

_Min._ By my troth sweet Ladies, it's Cake and pudding to me, |1900| to
see his face make faces, when hee reades his Songs and Sonnets.

_Hor._ Ile face some of you for this, when you shall not budge.

_Tuc._ Its the stinckingst dung-farmer--foh vpon him.

_Sir Vau._ Foh? oundes you make him vrse than olde herring: foh? by
Sesu I thinke he's as tidy, and as tall a Poet as euer |1905| drew out
a long verse.

_Tuc._ The best verse that euer I knew him hacke out, was his white
necke-verse: noble Ap Rees thou wouldst scorne to laye thy lippes to
his commendations, and thou smeldst him out as I doe, hee calles thee
the burning Knight of the Salamander.

|1910| _Sir Vaugh._ Right, Peter is my Salamander; what of him? but
Peter is neuer burnt: howe now? so, goe too now.

_Tucca._ And sayes because thou Clipst the Kinges English.

_Sir Vaughan._ Oundes mee? that's treason: clip? horrible treasons,
Sesu holde my handes; clip? he baites mouse-trappes for |1915| my life.

_Tucca._ Right little _Twinckler_, right: hee sayes because thou
speak'st no better, thou canst not keepe a good tongue in thy head.

_Sir Vaug._ By God tis the best tongue, I can buy for loue or |1920|
money.

_Tuc._ He shootes at thee too Adam Bell, and his arrowes stickes heere;
he calles thee bald-pate.

_Sir Vaugh._ Oundes make him prooue these intollerabilities.

_Tuc._ And askes who shall carry the vineger-bottle? & then he |1925|
rimes too't, and sayes Prickshaft: nay Miniuer hee cromples thy Cap
too; and----

_Cri._ Come Tucca, come, no more; the man's wel knowne, thou needst not
paint him, whom does he not wrong?

_Tuc._ Mary himselfe, the vglie Pope Boniface, pardons himselfe, |1930|
and therefore my iudgement is, that presently he bee had from hence to
his place of execution, and there bee Stab'd, Stab'd, Stab'd.

                                                     _He stabs at him._

_Hor._ Oh gentlemen, I am slaine, oh slaue art hyr'd to murder me, to
murder me, to murder me?

|1935| _Ladies._ Oh God!

_Sir Vaugh._ Ounds Capten, you haue put all Poetrie to the dint of
sword, blow winde about him: Ladies for our Lordes sake you that haue
smocks, teare off peeces, to shoote through his oundes: Is he dead and
buried? is he? pull his nose, pinch, rub, |1940| rub, rub, rub.

_Tu._ If he be not dead, looke heere; I ha the Stab and pippin for him:
if I had kil'd him, I could ha pleas'd the great foole with an Apple.

  _Cris._ How now? be well good Horace, heer's no wound;
  |1945| Y'are slaine by your owne feares; how dost thou man?
  Come, put thy heart into his place againe;
  Thy out-side's neither peir'st, nor In-side slaine.

_Sir Vau._ I am glad M. Horace, to see you walking.

_Ho._ Gentlemen, I am blacke and blewe the breadth of a groate.

|1950| _Tuc._ Breadth of a groate? there's a teston, hide thy
infirmities, my scuruy Lazarus; doe, hide it, least it prooue a scab in
time: hang thee desperation, hang thee, thou knowst I cannot be sharpe
set against thee: looke, feele (my light-vptailes all) feele my weapon.

|1955| _Mi._ O most pittifull as blunt as my great thumbe.

_Sir Vau._ By Sesu, as blunt as a Welsh bag-pudding.

_Tuc._ As blunt as the top of Poules; tis not like thy Aloe, Cicatrine
tongue, bitter: no, tis no stabber, but like thy goodly and glorious
nose, blunt, blunt, blunt: dost roare bulchin? dost |1960| roare? th'
ast a good rounciuall voice to cry Lanthorne & Candlelight.

_Sir Va._ Two vrds Horace about your eares: how chance it passes, that
you bid God boygh to an honest trade of building Symneys, and laying
downe Brickes, for a worse handicraftnes, |1965| to make nothing but
railes; your Muse leanes vpon nothing but filthy rotten railes, such as
stand on Poules head, how chance?

_Hor._ Sir Vaughan.

_Sir Va._ You lye sir varlet sir villaine, I am sir Salamanders,
ounds, is my man Master Peter Salamanders face as vrse as |1970| mine?
Sentlemen, all and Ladies, and you say once or twice Amen, I will lap
this little Silde, this Booby in his blankets agen.

_Omnes._ Agree'd, agree'd.

_Tuc._ A blanket, these crackt Venice glasses shall fill him out, they
shall tosse him, holde fast wag-tailes: so, come, in, take |1975|
this bandy with the racket of patience, why when? dost stampe mad
Tamberlaine, dost stampe? thou thinkst th'ast Morter vnder thy feete,
dost?

_Ladies._ Come, a bandy ho.

_Hor._ O holde most sacred beauties.

|1980| _Sir Vau._ Hold, silence, the puppet-teacher speakes.

  _Ho._ Sir Vaughan, noble Capten, Gentlemen,
  Crispinus, deare Demetrius ô redeeme me,
  Out of this infamous---- by God by Iesu----

  _Cri._ Nay, sweare not so good Horace, now these Ladies,
  |1985| Are made your executioners: prepare,
  To suffer like a gallant, not a coward;
  Ile trie t' vnloose, their hands, impossible.
  Nay, womens vengeance are implacable.

_Hor._ Why, would you make me thus the ball of scorne?

|1990| _Tuc._ Ile tell thee why, because th' ast entred Actions of
assault and battery, against a companie of honourable and worshipfull
Fathers of the law: you wrangling rascall, law is one of the pillers
ath land, and if thou beest bound too't (as I hope thou shalt bee)
thou't prooue a skip-Jacke, thou't be whipt. Ile tell |1995| thee why,
because thy sputtering chappes yelpe, that Arrogance, and Impudence,
and Ignoraunce, are the essentiall parts of a Courtier.

_Sir Vau._ You remember Horace, they will puncke, and pincke, and pumpe
you, and they catch you by the coxcombe: on I |2000| pray, one lash, a
little more.

_Tuc._ Ile tell thee why, because thou cryest ptrooh at worshipfull
Cittizens, and cal'st them Flat-caps, Cuckolds, and banckrupts,
and modest and vertuous wiues punckes & cockatrices. Ile tell thee
why, because th'ast arraigned two Poets against all |2005| lawe and
conscience; and not content with that, hast turn'd them amongst a
company of horrible blacke Fryers.

_Sir Vau._ The same hand still, it is your owne another day, M. Horace,
admonitions is good meate.

_Tuc._ Thou art the true arraign'd Poet, and shouldst haue been |2010|
hang'd, but for one of these part-takers, these charitable Copperlac'd
Christians, that fetcht thee out of Purgatory, (Players I meane)
Theaterians pouch-mouth, Stage-walkers; for this Poet, for this, thou
must lye with these foure wenches, in that blancket, for this----

  |2015| _Hor._ What could I doe, out of a iust reuenge,
  But bring them to the Stage? they enuy me
  because I holde more worthy company.

  _Deme._ Good Horace, no; my cheekes doe blush for thine,
  As often as thou speakst so, where one true
  |2020| And nobly-vertuous spirit, for thy best part
  Loues thee, I wish one ten, euen from my heart.
  I make account I put vp as deepe share
  In any good mans loue, which thy worth earnes,
  As thou thy selfe; we enuy not to see,
  |2025| Thy friends with Bayes to crowne thy Poesie.
  No, heere the gall lyes, we that know what stuffe
  Thy verie heart is made of; know the stalke
  On which thy learning growes, and can giue life
  To thy (once dying) basenes; yet must we
  |2030| Dance Antickes on your Paper.

_Hor._ Fannius.

  _Cri._ This makes vs angry, but not enuious,
  No, were thy warpt soule, put in a new molde,
  Ide weare thee as a Iewell set in golde.

|2035| _Sir Vau._ And Iewels Master Horace, must be hang'd you know.

_Tuc._ Good Pagans, well said, they haue sowed vp that broken
seame-rent lye of thine, that Demetrius is out at Elbowes, and
Crispinus is falne out with Sattin heere, they haue; but bloate-herring
dost heare?

|2040| _Hor._ Yes honour'd Captaine, I haue eares at will.

_Tuc._ Ist not better be out at Elbowes, then to bee a bond-slaue, and
to goe all in Parchment as thou dost?

_Horace._ Parchment Captaine? tis Perpetuana I assure you.

_Tuc._ My Perpetuall pantaloone true, but tis waxt ouer; th'art |2045|
made out of Wax; thou must answere for this one day; thy Muse is a
hagler, and weares cloathes vpon best-be-trust: th'art great in some
bodies books for this, thou knowst where; thou wouldst bee out at
Elbowes, and out at heeles too, but that thou layest about thee with a
Bill for this, a Bill--

|2050| _Ho._ I confesse Capten, I followed this suite hard.

_Tuc._ I know thou didst, and therefore whilst we haue Hiren heere,
speake my little dish-washers, a verdit Pisse-kitchins.

_Omnes._ Blancket.

_Sir Vau._ Holde I pray, holde, by Sesu I haue put vpon my |2055|
heade, a fine deuice, to make you laugh, tis not your fooles Cap Master
Horace, which you couer'd your Poetasters in, but a fine tricke, ha,
ha, is iumbling in my braine.

_Tuc._ Ile beate out thy braines, my whorson hansome dwarfe, but ile
haue it out of thee.

|2060| _Omnes._ What is it good Sir Vaughan?

_Sir Vau._ To conclude, tis after this manners, because Ma. Horace is
ambition, and does conspire to bee more hye and tall, as God a mightie
made him, wee'll carry his terrible person to Court, and there before
his Masestie Dub, or what you call it, |2065| dip his Muse in some
licour, and christen him, or dye him, into collours of a Poet.

_Omnes._ Excellent.

_Tuc._ Super Super-excellent Reuellers goe, proceede you Masters of
Arte in kissing these wenches, and in daunces, bring you |2070| the
quiuering Bride to Court, in a Maske, come Crumboll, thou shalt Mum
with vs; come, dogge mee skneakes-bill.

_Hor._ O thou my Muse!

_Sir Vau._ Call vpon God a mighty, and no Muses, your Muse I warrant
is otherwise occupied, there is no dealing with your |2075| Muse now,
therefore I pray marse, marse, marse, oundes your Moose?

                                                              _Exeunt._

  _Cri._ We shal haue sport to see them; come bright beauties,
  The Sunne stoops low, and whispers in our eares,
  To hasten on our Maske, let's crowne this night,
  |2080| With choise composed wreathes of sweet delight.

                                                             _ Exeunt._

   _Enter_ Terrill _and_ Cælestine _sadly_, Sir Quintilian _stirring
                     and mingling a cup of wine_.

  _Ter._ O Night, that Dyes the Firmament in blacke,
  |2085| And like a cloth of cloudes doth stretch thy limbes;
  Vpon the windy Tenters of the Ayre:
  O thou that hang'st vpon the backe of Day,
  Like a long mourning gowne: thou that art made
  Without an eye, because thou shouldst not see
  |2090| A Louers Reuels: nor participate
  The Bride-groomes heauen; ô heauen, to me a hell:
  I haue a hell in heauen, a blessed cursse;
  All other Brides-groomes long for Night, and taxe
  The Day of lazie slouth; call Time a <DW36>,
  |2095| And say the houres limpe after him: but I
  Wish Night for euer banisht from the skie,
  Or that the Day would neuer sleepe: or Time,
  Were in a swound; and all his little Houres,
  Could neuer lift him vp with their poore powers.

                                        |2100|       _Enter_ Cælestine.

  But backward runnes the course of my delight;
  The day hath turn'd his backe, and it is night;
  This night will make vs odde; day made vs eeuen,
  All else are damb'd in hel, but I in heauen.

  |2105| _Cæ._ Let loose thy oath, so shall we still be eeuen.

  _Ter._ Then am I damb'd in hell, and not in heauen.

  _Cæl._ Must I then goe? tis easie to say no,
  Must is the King himselfe, and I must goe;
  Shall I then goe? that word is thine; I shall,
  |2110| Is thy commaund: I goe because I shall;
  Will I then goe? I aske my selfe; ô ill,
  King, saies I must; you, I shall; I, I will.

  _Ter._ Had I not sworne.   _Cæl._ Why didst thou sweare?

  _Ter._ The King
  |2115| Sat heauvy on my resolution,
  Till (out of breath) it panted out an oath.

  _Cæl._ An oath? why, what's an oath? tis but the smoake,
  Of flame & bloud; the blister of the spirit,
  Which rizeth from the Steame of rage, the bubble
  |2120| That shootes vp to the tongue, and scaldes the voice,
  (For oathes are burning words) thou swor'st but one,
  Tis frozen long agoe: if one be numbred,
  What Countrimen are they? where doe they dwell,
  That speake naught else but oathes?

  |2125| _Ter._ They're men of hell.
  An oath? why tis the trafficke of the soule,
  Tis law within a man; the seale of faith,
  The bond of euery conscience; vnto whom,
  We set our thoughts like hands: yea, such a one
  |2130| I swore, and to the King: A King containes
  A thousand thousand; when I swore to him,
  I swore to them; the very haires that guard
  His head, will rise vp like sharpe witnesses
  Against my faith and loyalty: his eye
  |2135| Would straight condemne me: argue oathes no more,
  My oath is high, for to the King I swore.

                _Enter_ Sir Quintilian _with the cup._

  _Cæ._ Must I betray my Chastity? So long
  Cleane from the treason of rebelling lust;
  |2140| O husband! O my Father! if poore I,
  Must not liue chast, then let me chastly dye.

  _S. qui._ I, heer's a charme shall keep thee chaste, come, come,
  Olde Time hath left vs but an houre to play
  Our parts; begin the Sceane, who shall speake first?
  |2145| Oh, I, I play the King, and Kings speake first;
  Daughter stand thou heere, thou Sonne Terrill there,
  O thou standst well, thou lean'st against a poast,
  (For thou't be posted off I warrant thee:)
  The King will hang a horne about thy necke,
  |2150| And make a poast of thee; you stand well both,
  We neede no Prologue, the King entring first,
  He's a most gracious Prologue: mary then
  For the Catastrophe, or Epilogue,
  Ther's one in cloth of Siluer, which no doubt,
  |2155| Will please the hearers well, when he steps out;
  His mouth is fil'd with words: see where he stands;
  He'll make them clap their eyes besides their hands.
  But to my part; suppose who enters now,
  A King, whose eyes are set in Siluer; one
  |2160| That blusheth golde, speakes Musicke, dancing walkes,
  Now gathers neerer takes thee by the hand,
  When straight thou thinkst, the very Orbe of heauen,
  Mooues round about thy fingers, then he speakes,
  Thus--thus--I know not how.

  |2165| _Cæl._ Nor I to answer him.

  _Sir Quint._ No girle? knowst thou not how to answer him?
  Why then the field is lost, and he rides home,
  Like a great conquerour; not answer him?
  Out of thy part already? foylde the Sceane?
  |2170| Disranckt the lynes? disarm'd the action?

  _Ter._ Yes yes, true chastity is tongu'd so weake,
  Tis ouer-come ere it know how to speake.

  _Sir qui._ Come, come, thou happy close of euery wrong,
  Tis thou that canst dissolue the hardest doubt;
  |2175| Tis time for thee to speake, we are all out.
  Daughter, and you the man whom I call Sonne,
  I must confesse I made a deede of gift;
  To heauen and you, and gaue my childe to both:
  When on my blessing I did charme her soule,
  |2180| In the white circle of true Chastity,
  Still to run true, till death: now Sir if not,
  She forfeyts my rich blessing, and is Fin'd
  With an eternall cursse; then I tell you,
  She shall dye now, now whilst her soule is true.

  |2185| _Ter._ Dye?

  _Cæl._ I, I am deaths eccho.

  _Sir quin._ O my Sonne,
  I am her Father; euery teare I shed,
  Is threescore ten yeere olde; I weepe and smile
  |2190| Two kinde of teares: I weepe that she must dye,
  I smile that she must dye a Virgin: thus
  We ioyfull men mocke teares, and teares mocke vs.

  _Ter._ What speakes that cup?

  _Sir quin._ White wine and poison.

  |2195| _Ter._ Oh:
  That very name of poison, poisons me;
  Thou Winter of a man, thou walking graue,
  Whose life is like a dying Taper: how
  Canst thou define a Louers labouring thoughts?
  |2200| What Sent hast thou but death? what taste but earth?
  The breath that purles from thee, is like the Steame
  Of a new-open'd vault: I know thy drift,
  Because thou art trauelling to the land of Graues,
  Thou couetst company, and hether bringst,
  |2205| A health of poison to pledge death: a poison
  For this sweete spring; this Element is mine,
  This is the Ayre I breath; corrupt it not;
  This heauen is mine, I bought it with my soule,
  Of him that selles a heauen, to buy a soule.

  |2210| _Sir quin._ Well, let her goe; she's thine thou cal'st her thine,
  Thy Element, the Ayre thou breath'st; thou knowst
  The Ayre thou breath'st is common, make her so:
  Perhaps thou't say; none but the King shall weare
  Thy night-gowne, she that laps thee warme with loue;
  |2215| And that Kings are not common: Then to shew,
  By consequence he cannot make her so,
  Indeede she may promoote her shame and thine,
  And with your shames, speake a good word for mine:
  The King shining so cleare, and we so dim,
  |2220| Our darke disgraces will be seene through him.
  Imagine her the cup of thy moist life,
  What man would pledge a King in his owne wife?

  _Ter._ She dyes: that sentence poisons her: O life!
  What slaue would pledge a King in his owne wife?

  |2225| _Cæl._ Welcome, ô poyson, phisicke against lust,
  Thou holesome medicine to a constant bloud;
  Thou rare Apothecary that canst keepe,
  My chastity preseru'd, within this boxe;
  Of tempting dust, this painted earthen pot,
  |2230| That stands vpon the stall of the white soule,
  To set the shop out like a flatterer,
  To draw the customers of Sinne: come, come,
  Thou art no poison, but a dyet-drinke,
  To moderate my bloud: White-innocent Wine,
  |2235| Art thou made guilty of my death? oh no,
  For thou thy selfe art poison'd, take me hence,
  For Innocence, shall murder Innocence.

                                                             _Drinkes._

  _Ter._ Holde, holde, thou shalt not dye, my Bride, my wife,
  O stop that speedy messenger of death;
  |2240| O let him not run downe that narrow path,
  Which leades vnto thy heart; nor carry newes
  To thy remoouing soule, that thou must dye.

  _Cæl._ Tis done already, the Spirituall Court,
  Is breaking vp; all Offices discharg'd,
  |2245| My soule remooues from this weake standing house,
  Of fraile mortallity; Deare Father, blesse
  Me now and euer: Dearer Man, farewell,
  I ioyntly take my leaue of thee and life,
  Goe, tell the King thou hast a constant wife.

  |2250| _Ter._ I had a constant wife, Ile tell the King;
  Vntill the King--what dost thou smile? art thou
  A Father?

  _Sir quin._ Yea, smiles on my cheekes arise,
  To see how sweetly a true virgin dyes.

    |2255| _Enter_ Blunt, Crispinus, Fannius, Philocalia, Dicache,
                     Petula, _lights before them_.

_Cris._ Sir Walter Terrill, gallants are all ready?

_Ter._ All ready.

_Dem._ Well said, come, come, wher's the Bride?

  |2260| _Ter._ She's going to forbid the Banes agen.
  She'll dye a maide: and see, she keeps her oath.

_All the men._ Faire Cælestine!

_Ladies._ The Bride!

  _Ter._ She that was faire,
  |2265| Whom I cal'd faire and Cælestine.

_Omnes._ Dead!

_Sir quin._ Dead, sh's deathes Bride, he hath her maidenhead.

_Cri._ Sir Walter Terrill.

_Omnes._ Tell vs how.

  |2270| _Ter._ All cease,
  The subiect that we treate of now is _Peace_,
  If you demaund how: I can tell: if why,
  Aske the King that; he was the cause, not I.
  Let it suffice, she's dead, she kept her vow,
  |2275| Aske the King why, and then Ile tell you how:
  Nay giue your Reuels life, tho she be gone,
  To Court with all your preparation;
  Leade on, and leade her on; if any aske
  The mistery, say death presents a maske,
  |2280| Ring peales of Musicke, you are Louers belles,
  The losse of one heauen, brings a thousand hels.

                                                              _Exeunt._

    _Enter an arm'd Sewer, after him the seruice of a Banquet: the
           King at another doore meetes them, they Exeunt._

  _Kin._ Why so, euen thus the Mercury of Heauen,
  |2285| Vshers th' ambrosiate banquet of the Gods,
  When a long traine of Angels in a ranke,
  Serue the first course, and bow their Christall knees,
  Before the Siluer table; where Ioues page
  Sweet Ganimed filles Nectar: when the Gods
  |2290| Drinke healthes to Kings, they pledge them; none but Kings
  Dare pledge the Gods; none but Gods drinke to Kings.
  Men of our house are we prepar'd?

                           _Enter Seruants._

  _Ser._ My Leige,
  |2295| All waite the presence of the Bride.

  _Kin._ The Bride?
  Yea, euery senceles thing, which she beholdes,
  Will looke on her agen, her eyes reflection,
  Will make the walles all eyes, with her perfection:
  |2300| Obserue me now, because of Maskes and Reuels,
  And many nuptiall ceremonies: Marke,
  This I create the Presence, heere the State,
  Our Kingdomes seate, shall sit in honours Pride,
  Like pleasures Queene, there will I place the Bride:
  |2305| Be gone, be speedy, let me see it done.

                                                              _Exeunt._

  A King in Loue, is Steward to himselfe,
  And neuer scornes the office, my selfe buy,
  All glances from the Market of her eye.

            _Soft Musicke, chaire is set vnder a Canopie._

  |2310| _Kin._ Sound Musicke, thou sweet suiter to the ayre,
  Now wooe the ayre agen, this is the houre,
  Writ in the Calender of time, this houre,
  Musicke shall spend, the next and next the Bride;
  Her tongue will read the Musicke-Lecture: Wat
  |2315| I loue thee Wat, because thou art not wise;
  Not deep-read in the volume of a man,
  Thou neuer sawst a thought, poore soule thou thinkst,
  The heart and tongue is cut out of one peece,
  But th'art deceau'd, the world hath a false light,
  |2320| Fooles thinke tis day, when wise men know tis night.

                        _Enter Sir_ Quintilian.

_Sir quint._ My Leige, they're come, a maske of gallants.

_King._ Now----the spirit of Loue vshers my bloud.

  _Sir quin._ They come.
  |2325| The Watch-word in a Maske is the bolde Drum.

   _Enter_ Blunt, Crispinus, Demetrius, Philocalia, Petula, Dicache,
     _all maskt, two and two with lights like maskers_: Cælestine
                            _in a chaire_.

  _Ter._ All pleasures guard my King, I heere present,
  |2330| My oath vpon the knee of duety: knees
  Are made for Kings, they are the subiects Fees.

  _King._ Wat Terrill, th'art ill suited, ill made vp,
  In Sable collours, like a night peece dyed,
  Com'st thou the Prologue of a Maske in blacke;
  |2335| Thy body is ill shapt; a Bride-groome too
  Looke how the day is drest in Siluer cloth,
  Laide round about with golden Sunne-beames: so
  (As white as heauen) should a fresh Bride-groome goe.
  What? Cælestine the Bride, in the same taske?
  |2340| Nay then I see ther's mistery in this maske,
  Prethee resolue me Wat?

  _Ter._ My gracious Lord,
  That part is hers, she actes it; onely I
  Present the Prologue, she the misterie.

  |2345| _Kin._ Come Bride, the Sceane of blushing entred first,
  Your cheekes are setled now, and past the worst;

                                                         _Vnmasks her._

  A mistery? oh none plaies heere but death,
  This is deaths motion, motionles? speake you,
  Flatter no longer; thou her Bride-groome; thou
  |2350| Her Father speake.

_Sir quint._ Dead.

_Ter._ Dead.

_Kin._ How?

_Sir quin._ Poyson'd.

  |2355| _King._ And poyson'd?
  What villaine durst blaspheme her beauties, or
  Prophane the cleare religion of her eyes?

  _Ter._ Now King I enter, now the Sceane is mine,
  My tongue is tipt with poison; know who speakes,
  |2360| And looke into my thoughts; I blush not King,
  To call thee Tyrant: death hath set my face,
  And made my bloud bolde; heare me spirits of men,
  And place your eares vpon your hearts; the day
  (The fellow to this night) saw her and me,
  |2365| Shake hands together: for the booke of heauen,
  Made vs eternall friends: thus, _Man and Wife_,
  This man of men (the King) what are not kings?
  Was my chiefe guest, my royall guest, his Grace
  Grac'd all the Table, and did well become
  |2370| The vpper end, where sate my Bride: in briefe,
  He tainted her chaste eares; she yet vnknowne,
  His breath was treason, tho his words were none.
  Treason to her and me, he dar'd me then,
  (Vnder the couert of a flattering smile,)
  |2375| To bring her where she is, not as she is,
  Aliue for lust, not dead for (Chastity:
  The resolution of my soule, out-dar'd,)
  I swore and taxt my faith with a sad oath;
  Which I maintaine; heere take her, she was mine,
  |2380| When she was liuing, but now dead, she's thine.

  _Kin._ Doe not confound me quite; for mine owne guilt,
  Speakes more within me then thy tongue containes;
  Thy sorrow is my shame: yet heerein springs,
  Ioy out of sorrow, boldnes out of shame;
  |2385| For I by this haue found, once in my life,
  A faithfull subiect, thou a constant wife.

  _Cæl._ A constant wife.

  _Kin._ Am I confounded twice?
  Blasted with wonder.

  |2390| _Ter._ O delude we not,
  Thou art too true to liue agen, too faire
  To be my Cælestine, too constant farre
  To be a woman.

  _Cæl._ Not to be thy wife,
  |2395| But first I pleade my duetie, and salute
  The world agen.

  _Sir quin._ My King, my Sonne, know all,
  I am an Actor in this misterie,
  And beare the chiefest part. The Father I,
  |2400| Twas I that ministred to her chaste bloud,
  A true somniferous potion, which did steale
  Her thoughts to sleepe, and flattered her with death:
  I cal'd it a quick poison'd drug, to trie
  The Bride-groomes loue, and the Brides constancie.
  |2405| He in the passion of his loue did fight,
  A combat with affection; so did both,
  She for the poison stroue, he for his oath:
  Thus like a happie Father, I haue won,
  A constant Daughter, and a louing Sonne.

  |2410| _Kin._ Mirrour of Maidens, wonder of thy name,
  I giue thee that art giuen, pure, chaste, the same
  Heere Wat: I would not part (for the worlds pride)
  So true a Bride-groome, and so chaste a Bride.

  _Cri._ My Leige, to wed a Comicall euent,
  |2415| To presupposed tragicke Argument:
  Vouchsafe to exercise your eyes, and see
  A humorous dreadfull Poet take degree.

  _Kin._ Dreadfull in his proportion or his pen?

  _Cris._ In both, he calles himselfe the whip of men.

  |2420| _Kin._ If a cleare merrit stand vpon his praise,
  Reach him a Poets Crowne (the honour'd Bayes)
  But if he claime it, wanting right thereto,
  (As many bastard Sonnes of Poesie doe)
  Race downe his vsurpation to the ground.
  |2425| _True Poets are with Arte and Nature Crown'd._
  But in what molde so ere this man bee cast;
  We make him thine Crispinus, wit and iudgement,
  Shine in thy numbers, and thy soule I know,
  Will not goe arm'd in passion gainst thy foe:
  |2430| Therefore be thou our selfe; whilst our selfe sit,
  But as spectator of this Sceane of wit.

  _Cri._ Thankes royall Lord, for these high honors done,
  To me vnworthie, my mindes brightest fires
  Shall all consume them selues, in purest flame,
  |2435| On the Alter of your deare eternall name.

  _Kin._ Not vnder vs, but next vs take thy Seate,
  »_Artes nourished by Kings make Kings more great_,
  Vse thy Authority.

  _Cris._ Demetrius.
  |2440| Call in that _selfe-creating Horace_, bring
  Him and his _shaddow_ foorth.

  _Dem._ Both shall appeare,
  »_No black-eyed star must sticke in vertues Spheare_.

                         _Enter_ Sir Vaughan.

|2445| _Sir Va._ Ounds did you see him, I pray let all his Masesties
most excellent dogs, be set at liberties, and haue their freedoms to
smell him out.

_Dem._ Smell whom?

_Sir Vaugh._ Whom? The _Composer_, the _Prince of Poets_, _Horace_,
|2450| _Horace_, he's departed: in Gods name and the Kinges I sarge
you to ring it out from all our eares, for Horaces bodie is departed:
Master hue and crie shall----God blesse King Williams, I crie you mercy
and aske forgiuenes, for mine eyes did not finde in their hearts to
looke vppon your Masestie.

|2455| _Kin._ What news with thee Sir Vaughan?

_Sir Vau._ Newes? God tis as vrse newes as I can desire to bring about
mee: our vnhansome-fac'd Poet does play at bo-peepes with your Grace,
and cryes all-hidde as boyes doe.

_Officers._ Stand by, roome there, backe, roome for the Poet.

|2460| _Sir Va._ He's reprehended and taken, by Sesu I reioyce very
neere as much as if I had discouer'd a New-found Land, or the North and
East Indies.

     _Enter_ Tucca, _his boy after him with two pictures vnder his
   cloake, and a wreath of nettles_: Horace _and_ Bubo _pul'd in by
   th' hornes bound |2465| both like Satyres_, Sir Adam _following,
        Mistris_ Miniuer _with him, wearing_ Tuccaes _chaine_.

_Tuc._ So, tug, tug, pull the mad Bull in by'th hornes: So, baite
one at that stake my place-mouth yelpers, and one at that stake
Gurnets-head.

|2470| _King._ What busie fellow's this?

_Tuc._ Saue thee, my most gracious King a Harts saue thee, all hats and
caps are thine, and therefore I vaile: for but to thee great _Sultane
Soliman_, I scorne to be thus put off or to deliuer vp this sconce I
wud.

|2475| _Kin._ Sir Vaughan, what's this iolly Captaines name?

_Sir Va._ Has a very sufficient name, and is a man has done God and
his Country as good and as hot Seruice (in conquering this vile
Monster-Poet) as euer did S. George his horse-backe about the Dragon.

|2480| _Tuc._ I sweate for't, but Tawsoone, holde thy tongue, Mon
Dieu, if thou't praise mee, doo't behinde my backe: I am my weighty
Soueraigne one of thy graines, thy valliant vassaile; aske not what I
am, but read, turne ouer, vnclaspe thy Chronicles: there thou shalt
finde Buffe-Ierkin; there read my points of war; I am |2485| one a thy
Mandilian-Leaders; one that enters into thy royall bands for thee;
_Pantilius Tucca_; one of thy Kingdomes chiefest quarrellers; one a thy
most faithfull--fy--fy--fy----

_Sir Vau._ Drunkerds I holde my life.

_Tuc._ No _whirligig_, one of his faithfull fighters; thy drawer ô
|2490| royall _Tamor Cham_.

_Sir Vau._ Goe too, I pray Captaine Tucca, giue vs all leaue to doe our
busines before the King.

_Tuc._ With all my heart, shi, shi, shi shake that _Beare-whelp_ when
thou wut.

|2495| _Sir Vau._ Horace and Bubo, pray send an answere into his
Masesties eares, why you goe thus in Ouids Morter-Morphesis and strange
fashions of apparrell.

_Tuc._ Cur why?

_Asini._ My Lords, I was drawne into this beastly suite by head |2500|
and shoulders onely for loue I bare to my Ningle.

_Tuc._ Speake Ningle, thy mouth's next, belch out, belch, why----

  _Hor._ I did it to retyre me from the world;
  And turne my _Muse_ into a _Timonist_,
  Loathing the general Leprozie of Sinne,
  |2505| Which like a plague runs through the soules of men:
  I did it but to----

_Tu._ But to bite euery Motley-head vice by'th nose, you did it Ningle
to play the Bug-beare Satyre, & make a Campe royall of fashion-mongers
quake at your paper Bullets; you Nastie Tortois, |2510| you and your
Itchy Poetry breake out like Christmas, but once a yeare, and then you
keepe a Reuelling, & Araigning, & a Scratching of mens faces, as tho
you were Tyber the long-tail'd Prince of Rattes, doe you?

_Cri._ Horace.

|2515| _Sir Vaughan._ Silence, pray let all vrdes be strangled, or held
fast betweene your teeth.

  _Cri._ Vnder controule of my dreade Soueraigne,
  We are thy Iudges; thou that didst _Arraigne_,
  Art now prepar'd for condemnation;
  |2520| Should I but bid thy Muse stand to the Barre,
  Thy selfe against her wouldst giue euidence:
  For flat rebellion gainst the Sacred lawes
  Of diuine Poesie: heerein most she mist,
  _Thy pride and scorne made her turne Saterist,
  |2525| And not her loue to vertue_ (as thou Preachest)
  Or should we minister strong pilles to thee:
  What lumpes of hard and indigested stuffe,
  Of bitter _Satirisme_, of _Arrogance_,
  Of _Selfe-loue_, of _Detraction_, of a blacke
  |2530| And stinking _Insolence_ should we fetch vp?
  But none of these, we giue thee what's more fit,
  With stinging nettles Crowne his stinging wit.

_Tuc._ Wel said my Poeticall huckster, now he's in thy handling rate
him, doe rate him well.

|2535| _Hor._ O I beseech your Maiesty, rather then thus to be netled,
Ile ha my Satyres coate pull'd ouer mine eares, and bee turn'd out a
the nine Muses Seruice.

_Asin._ And I too, let mee be put to my shiftes with myne Ningle.

_Sir Vau._ By Sesu so you shall M. Bubo; flea off this hairie skin
|2540| M. Horace, so, so, so, vntrusse, vntrusse.

_Tuc._ His Poeticall wreath my dapper puncke-fetcher.

_Hor._ Ooh----

_Sir Vau._ Nay your oohs, nor your _Callin-oes_ cannot serue your
turne; your tongue you know is full of blisters with rayling,
|2545| your face full of pockey-holes and pimples, with your fierie
inuentions: and therefore to preserue your head from aking, this Biggin
is yours,----nay by Sesu you shall bee a Poet, though not Lawrefyed,
yet Nettlefyed, so:

_Tuc._ Sirra stincker, thou'rt but vntruss'd now, I owe thee a |2550|
whipping still, and Ile pay it: I haue layde roddes in Pisse and
Vineger for thee: It shall not bee the _Whipping a' th Satyre_, nor the
Whipping of the blinde-Beare, but of a counterfeit Iugler, that steales
the name of Horace.

_Kin._ How? counterfeit? does hee vsurpe that name?

|2555| _Sir Vau._ Yes indeede ant please your Grace, he does sup vp
that abhominable name.

_Tuc._ Hee does O King _Cambises_, hee does: thou hast no part of
Horace in thee but's name, and his damnable vices: thou hast such a
terrible mouth, that thy beard's afraide to peepe out: but, |2560|
looke heere you staring Leuiathan, heere's the sweete visage of
Horace; looke perboylde-face, looke; Horace had a trim long-beard,
and a reasonable good face for a Poet, (as faces goe now-a-dayes)
Horace did not skrue and wriggle himselfe into great Mens famyliarity,
(impudentlie) as thou doost: nor weare the |2565| Badge of Gentlemens
company, as thou doost thy Taffetie sleeues tackt too onely with
some pointes of profit: No, Horace had not his face puncht full of
Oylet-holes, like the couer of a warming-pan: Horace lou'd Poets well,
and gaue Coxcombes to none but fooles; but thou lou'st none, neither
Wisemen nor fooles, but |2570| thy selfe: Horace was a goodly Corpulent
Gentleman, and not so leane a hollow-cheekt Scrag as thou art: No,
heere's thee Coppy of thy countenance, by this will I learne to make a
number of villanous faces more, and to looke scuruily vpon'th world, as
thou dost.

|2575| _Cri._ Sir Vaughan will you minister their oath?

_Sir Vau._ Master Asinius Bubo, you shall sweare as little as you can,
one oath shall damme vp your Innocent mouth.

_Asin._ Any oath Sir, Ile sweare any thing.

_Sir Va._ You shall sweare, by _Phœbus_ (who is your Poets good |2580|
Lord and Master,) that heere-after you will not hyre Horace, to giue
you poesies for rings, or hand-kerchers, or kniues which you vnderstand
not, nor to write your Loue-letters; which you (in turning of a hand)
set your markes vpon, as your owne: nor you shall not carry Lattin
Poets about you, till you can write |2585| and read English at most;
and lastlye that you shall not call Horace your Ningle.

_Asin._ By _Phœbus_ I sweare all this, and as many oathes as you will,
so I may trudge.

_Sir Vau._ Trudge then, pay your legs for Fees, and bee dissarg'd.

|2590| _Tuc._ Tprooth----runne Red-cap, ware hornes there.

                                                            _Exit Asi._

_Sir Va._ Now Master Horace, you must be a more horrible swearer, for
'your oath must be (like your wittes) of many collours; and like a
Brokers booke of many parcels.

_Tuc._ Read, read; th'inuentory of his oath.

|2595| _Hor._ Ile sweare till my haire stands vp an end, to bee rid of
this sting, oh this sting!

_Sir Vau._ Tis not your sting of conscience, is it?

_Tuc._ Vpon him: _Inprimis_.

_Sir Vaugh._ _Inprimis_, you shall sweare by _Phœbus_ and the |2600|
halfe a score Muses lacking one: not to sweare to hang your selfe, if
you thought any Man, Ooman or Silde, could write Playes and Rimes, as
well-fauour'd ones as your selfe.

_Tuc._ Well sayd, hast brought him toth gallowes already?

_Sir Vaugh._ You shall sweare not to bumbast out a new Play, |2605|
with the olde lynings of Iestes, stolne from the Temples Reuels.

_Tuc._ To him olde Tango.

_Sir Va._ Moreouer, you shall not sit in a Gallery, when your Comedies
and Enterludes haue entred their Actions, and there make vile and bad
faces at euerie lyne, to make Sentlemen haue |2610| an eye to you, and
to make Players afraide to take your part.

_Tuc._ Thou shalt be my Ningle for this.

_Sir Vau._ Besides, you must forsweare to venter on the stage, when
your Play is ended, and to exchange curtezies, and complements with
Gallants in the Lordes roomes, to make all the |2615| house rise vp in
Armes, and to cry that's Horace, that's he, that's he, that's he, that
pennes and purges Humours and diseases.

_Tuc._ There boy, agen.

_Sir Vau._ Secondly, when you bid all your friends to the marriage of a
poore couple, that is to say: your _Wits and necessities, |2620| alias
dictus, to the rifling of your Muse: alias, your Muses vp-sitting:
alias a Poets Whitson-Ale_; you shall sweare that within three dayes
after, you shall not abroad, in Booke-binders shops, brag that your
_Vize-royes_ or _Tributorie-Kings_, haue done homage to you, or paide
quarterage.

|2625| _Tuc._ Ile busse thy head Holofernes.

_Sir Vaugh._ Moreouer and _Inprimis_, when a Knight or Sentlemen of
vrship, does giue you his passe-port, to trauaile in and out to his
Company, and giues you money for Gods sake; I trust in Sesu, you will
sweare (tooth and nayle) not to make |2630| scalde and wry-mouth Iestes
vpon his Knight-hood, will you not?

_Hor._ I neuer did it by Parnassus.

_Tuc._ Wut sweare by Parnassus and lye too, Doctor Doddipol?

_Sir Va._ Thirdly, and last of all sauing one, when your Playes are
misse-likt at Court, you shall not crye Mew like a Pusse-cat, |2635|
and say you are glad you write out of the Courtiers Element.

_Tuc._ Let the Element alone, tis out a thy reach.

_Sir Vau._ In brieflynes, when you Sup in Tauernes, amongst your
betters, you shall sweare not to dippe your Manners in too much sawce,
nor at Table to fling Epigrams, Embleames, or |2640| Play-speeches
about you (lyke Hayle-stones) to keepe you out of the terrible daunger
of the Shot, vpon payne to sit at the vpper ende of the Table, a'th
left hand of Carlo Buffon: sweare all this, by Apollo and the eight or
nine Muses.

_Hor._ By Apollo, Helicon, the Muses (who march three and |2645| three
in a rancke) and by all that belongs to Pernassus, I sweare all this.

_Tuc._ Beare witnes.

  _Cris._ That fearefull wreath, this honour is your due,
  _All Poets shall be Poet-Apes but you_;
  |2650| Thankes (_Learnings true Mecænas, Poesies king_)
  Thankes for that gracious eare, which you haue lent,
  To this most tedious, most rude argument.

  _Kin._ Our spirits haue well beene feasted; he whose pen
  Drawes both corrupt, and cleare bloud from all men:
  |2655| (Careles what veine he prickes) let him not raue,
  When his owne sides are strucke, blowes, blowes, doe craue.

_Tuc._ Kings-truce, my noble Hearbe-a-grace; my Princely sweet-William,
a boone--Stay first, Ist a match or no match, Lady Furniuall Ist?

|2660| _Sir Ad._ & _Sir quint._ A match?

_Mini._ I, a match, since he hath hit the Mistris so often 1'th
fore-game, we'll eene play out a rubbers.

_Sir Ada._ Take her for me.

_Sir quin._ Take her for thy selfe, not for me.

|2665| _Sir Vau._ Play out your rubbers in Gods name, by Sesu Ile neuer
boule more in your Alley, Iddow.

_Sir Quin._ My Chaine.

_Sir Adam._ My Purse.

_Tuc._ Ile Chaine thee presently, and giue thee ten pound and |2670| a
purse: a boone my Leige: ... daunce ô my delicate Rufus, at my wedding
with this reuerend Antiquary; ist done? wut thou?

  _Kin._ Ile giue thee Kingly honour: _Night_ and _Sleepe_,
  With silken Ribands would tye vp our eyes,
  |2675| But Mistris Bride, one measure shall be led,
  In scorne of Mid-nights hast, and then to bed.

                                                              _Exeunt._

_Epilogus:_

_Tucca._ Gentlemen, Gallants, and you my little Swaggerers that fight
lowe: my tough hearts of Oake that stand too't so valliantly, and are
still within a yard of your Capten: Now |2680| the Trumpets (that set
men together by the eares) haue left their Tantara-rag-boy, let's part
friends. I recant, beare witnes all you Gentle-folkes (that walke i'th
Galleries) I recant the opinions which I helde of Courtiers, Ladies,
& Cittizens, when once (in an assembly of Friers) I railde vpon them:
that Hereticall |2685| Libertine Horace, taught me so to mouth it.
Besides, twas when stiffe Tucca was a boy: twas not Tucca that railde
and roar'd then, but the Deuill & his Angels: But now, Kings-truce, the
Capten Summons a parlee, and deliuers himselfe and his prating company
into your hands, vpon what composition you |2690| wil. Are you pleas'd?
and Ile dance Friskin for ioy, but if you be not, by'th Lord Ile see
you all----heere for your two pence a peice agen, before Ile loose your
company. I know now some be come hyther with cheekes swolne as big with
hisses, as if they had the tooth-ach: vds-foote, if I stood by them,
Ide bee |2695| so bold as----intreate them to hisse in another place.
Are you aduiz'd what you doe when you hisse? you blowe away Horaces
reuenge: but if you set your hands and Seales to this, Horace will
write against it, and you may haue more sport: he shall not loose his
labour, he shall not turne his blanke verses into |2700| wast paper:
No, my Poetasters will not laugh at him, but will vntrusse him agen,
and agen, and agen. Ile tell you what you shall doe, cast your little
Tucca into a Bell: doe, make a Bell of me, and be al you my clappers,
vpon condition, wee may haue a lustie peale,

        |2705| this colde weather: I haue but two legs left me,
                  and they are both yours: Good night
                         my two penny Tenants
                              God night.

                               _FINIS._

TEXT-NOTEN.

       { A₁ = beide Exemplare im Brit. Museum
  A =
       { A₂ = Exemplare d. Dyce-Libr. und d. Bodleiana.

  =42.= A: haue haue bin,

  =73.= A: pa

  =113/4.= A: to deckei th' nuisible

  =338.= A: this;

  =360.= A: it:

  =377.= A: I adorn'd [cf. Ad Lectorem, Z. 61.]

  =389.= A: _Asi._ Why

  =409.= A: Ile starte thence poore [cf. Ad Lectorem, Z. 63.]

  =412.= A: Comedies

  =413.= A: ranke

  =419.= A: it:

  =429.= A: yet;

  =464.= A: doe struie

  =497.= A: with her dregs [cf. Ad Lectorem, Z. 65.]

  =502.= A: off the head [cf. Ad Lectorem, Z. 67.]

  =514.= A: fiue hundred, foure hundred fiue, [cf. Ad Lectorem, Z. 69.]

  =557.= A: friends,

  =575.= A: whether

  =591.= A: Flacucs.

  =607.= A: Coale come?

  =633.= A: vauward

  =677.= A: then:

  =682.= A: _Exeunt:_

  =696.= A: Vanghan,

  =704.= A: _Sir. Vaug._

  =765.= A: _Sir quin_

  =773.= A₁: he Ladyes.... come-
             tye.

  =810.= A: _Vaugh;_

  =831.= A: feauer:

  =846.= A: meete;

  =863.= A₁: Short-hose

  =888.= A: morrow,

  =957.= A: & sayes he sayes hyee, Master

  =995.= A₂: prophceing;

  =1003.= A₂: wide a

  =1006.= A: _Sir. Adam._

  =1012.= A₁: words

  =1025.= A₂: mightie I

  =1029/30.= A₂: man, and ... world,

  =1050.= A: shall he

  =1064.= A₂: Pridegroome,

  =1101.= A: bitterlie:

  =1107.= A: M, Horace,

  =1234.= A: Custos p. F₃: bond,

  =1260.= A: supplications now

  =1265.= A: _Tuc_,

  =1274.= A₂: Right for

  =1310.= A: _Sir. Vau._

  =1312.= A: _Sir. Vau._

  =1317.= A: guest.

  =1328.= A: This enterchanging of Languages; [cf. Ad Lectorem, Z. 71.]

  =1335.= A: out speech;

  =1403.= A₂: then, then then

  =1406.= A: _Sir. Vau._

  =1408.= A₁: so, tis

  =1409.= A: ali past

  =1424.= A: Custos G₂: then

  =1531.= A: i[inverted t],

  =1578.= A: _Sir._

  =1584.= A: sansomely

  =1587.= A: Custos: whoreson,

  =1615.= A₂: on,

  =1648.= A: Will,

  =1661.= A₁: Armes,

  =1681.= A: wrong.

  =1758.= A: £'. der scheinbare Apostroph ist vielleicht ein in die Höhe
  geratenes Komma.

  =1771.= A: leader Custos: leader,

  =1773.= A: come:

  =1796.= A: La_dies_,

  =1804.= A: begin.

  =1806.= A: winne.

  =1809.= A: _Bin._ To prooue

  =1865.= A: _best_,

  =1930.= A: indgement

  =1998.= A₂: Horace they (nur copy d. Bodl.)

  =2002.= A: Fl in Flat sehr schlecht gedruckt.

  =2018.= A₁: cheekcs

  =2063.= A: terrible,

  =2083.= A: _migling_

  =2115.= A: resoluion,

  =2169.= A: alread? yfoylde

  =2237.= A: _Drinkes_

  =2257.= A: ready,

  =2271.= A₁: _Peace._ Interpunktion undeutlich.

  =2289.= A: Gods.

  =2309.= A: _it set_

  =2322.= A₁: Liege they're   A: gallants,

  =2348.= A₂: motion; motionles?   A₁: motionles;

  =2357.= A₁: eyes.

  =2384.= A: boldnes ont

  =2476.= A₂: don   das e kann auch abgesprungen sein.

  =2480.= A₁: tongue Mon du,

  =2481.= A₂: me

  =2490.= A₂: Tam or Cham

  =2522.= A: lawes,

  =2530.= A: And stinging [cf. Ad Lectorem, Z. 73.]

  =2543.= A: _Tu._ Nay your

  =2552.= A: bnt of

  =2578.= A: _Cris._ Any

  =2587.= A: _Cris._ By

  =2596.= A₁: oh this sting.

  =2612.= A: _Sir Vau_

  =2618.= A: _Sir Vvu._

  =2630.= A₁: wlll you

  =2685.= A: tanght

ANMERKUNGEN.

SEITE 1. Das lateinische Citat stammt aus: ~Horaz~, _Sat._ I. 4, 73.

SEITE 3. Ad Detractorem; _Martial_, _Epgr._ lib. XIII. 2.

=5/6.= ~Virgil~, _Aeneis_, III. 658: _monstrum horrendum informe
ingens, cui lumen ademptum_.

=8.= Poetomachia = der sog. Stage-Quarrel.

Horace the second = ~Ben Jonson~.

=9.= _a band of...._ Poetasters: sc. ~Marston~, ~Dekker~, ~Monday~
und vielleicht auch ~Shakespeare~, für den besonders ~Small~,
_Stage-Quarrel_ p. 7 u. 133 ff eintritt.

=12.= Horace _hal'd his_ Poetasters _to the Barre_: namentlich mit dem
_Poetaster_.

_the_ Poetasters _vntruss'd_ Horace mit dem _Satiromastix_. Der
Plural Poetasters lässt vermuten, dass ~Dekker~ noch mindestens einen
Mitarbeiter, ~Marston~, hatte; cf. Einleitung, VIII. _untruss_ findet
sich bereits _Ev. Man out_, Merm. Ser. p. 154: "_Second Untruss of the
time_", womit ~Jonson~ auf ~Marstons~ _Scourge of Villanie_ anspielt;
ferner im _Poetaster_ (M. Ser. 372): _the Untrusser or Whippers of the
age_.

=15.= Burgonian wit: ~Hawkins~, _Origin of the Engl. Drama_, Oxford
1773, vol. III., ~Nares~, _Glossary_, s. v. und ~Bullen~, _Marston's
Works_, III, 373 beziehen diese oder ähnliche Andeutungen fälschlich
auf den «bastard of Burgundy, who was overthrown in Smithfield by
Anthony Woodville 1467». ~Small~, p. 6³ hat bereits auf Grund von
~Stow's~ _Annales_, 787-b den Irrtum berichtigt: es handelt sich
um einen _John Barrose_, der Burgunder von Geburt und «fencer» von
Beruf war, 1598 alle Fechter Englands herausforderte und am 10. Juli
desselben Jahres gehängt wurde. Vgl. ~Edw. Guilpin~, _Skialetheia_,
1598, Sat. V., ~Marston~, _Scourge of Villanie_, Sat. XI., _Jack Drum_
II, 180. ~Jonson~, _Ev. Man in_ (M. Ser. 76) lässt _Cob_ von _Bobadill_
sagen: «_that foist, that fencing Burgullion_».

=16.= lies: _likely_, ein Druckfehler, der leider übersehen wurde.

=20.= Bun-hill: in der Nähe von Finsbury-Square. 1665-1867 wurden die
Bunhill-Fields als Friedhof, hauptsächlich für Nonconfirmisten benützt.

  =21.= Se defendendo: Vgl. dazu den _Apol. Dial._ (M. Ser. 377), wo
  ungefähr das gerade Gegenteil gesagt wird: ... _three years
     They did provoke me with their petulant styles
     On every stage:_ etc.

=22/28.= ~Penniman~, _War_ 19, hat schon darauf hingewiesen, dass diese
Stelle als Zeugnis dafür dienen kann, dass ~Jonson~ hinter keiner der
Personen in _Ev. Man in_ zu suchen ist.

=29.= _his_ Arraignement = the Poetaster.

_Cat-a-mountaine_: (Wildkatze) damals öfters erwähnt, so Sh. _Tp._ IV.
1. 262 u._ M.W.W._ II. 2. 27.

_mewes_: _to mew_ oder _to cry mew_ (Z. 360) als Zeichen der
Missbilligung.

Vgl. _Gulls Hornbook_, Temple Classics, p. 48: ... on the very Rushes
... must our fethered _Estridge_ ... be planted ... beating downe the
mewes and hisses of the opposed rascality; ferner p. 53, wo dem Gull
der Rat gegeben wird: mewe at passionate speeches.

=30ff.= vgl. dazu die Einleitung p. XII f.

Stigmaticke: der Gebrandmarkte, [der Missgestaltete].

=45.= _Poules Church-yard_ bekannt als der Tummelplatz der Bummler und
Geschäftsleute.

=49.= Detraction: Anspielung auf _Cynthia's Revels_ III. 2 (M. Ser. 213):

  Crites. _Do, good Detraction_ (Hedon), _do, and I the while
          Shall shake thy spite off with a careless smile._

Envy: mit Bezug auf den Envy-Prolog im _Poetaster_.

=51.= Nauci von naucum = die Nussschale; bildl. = taube Nuss = etwas
ganz Geringes, Wertloses. Vgl. dazu auch folgende Beispiele, welche
ich Herrn Prof. ~Bang~ verdanke: ~Rich. Huloeti~, _A B Cedarium
Anglicolatinum_, Lond. 1552, sub _Nothynge worth_, wo als Übersetzung
gegeben wird: _Nauci esse_.--~Cooper~, _Thesaur. Ling. Rom. &. Brit._,
Lond. 1573, s. v. _nauci: All trifling things that are of no values: as
the pyll of an apple: the paring of ones nayle_, etc. -- _Bibliotheca
Eliotae_ ed. 1559, sub _Nauci_: ... _euery lyttell thynge of no value,
a thyng of naught. Nauci esse, to be worth nothyng._

=53.= Populus me etc: ~Horaz~, _Sat._ lib. I. 1.66.

=59.= Comedy of Errors: Anspielung auf ~Shakespeares~ gleichnamiges
Stück; sie findet sich nochmal bei ~Dekker~, _Honest Whore_, Works, II,
p. 62.

Die in diesem Druckfehlerverzeichnis gebrachten Korrekturen wurden
natürlich bei Herstellung des Textes berücksichtigt.

=87.= plump-lip: volle, üppige Lippe; dies erinnert an den _plump lipt
god_ in _2. Ant. and Mel._ V. 4. ed. ~Halliwell~, I, 137.

=101.= sable ground erinnert an: _My sable ground of sin I will not
paint_, _Lucrece_ 1074.

=114.= coarse = corse

=117 f.= to lead Apes in hell: Eine Strafe für alte Jungfern, vgl.
~Sh.~ _Ado._ II. 1. 43. 49., _Shr._ II. 34., _Patient Grissill_, ed.
~Hübsch~, 704 u. 2603. ~W. Haughton~, _Englishmen for my Money_, ed.
~Dodsley~ X. 518. -- ~Nares~ gibt p. 440 folgende Erläuterung: As _ape_
occasionally meant a fool, it probably meant that those coquettes
who made fools of men, and led them about without real intention of
marriage, would have them still to lead against their will hereafter.

=127.= Rebatoes: rebato = a falling collar (~Nares~); richtiger rabato
cf. _Ado_, III. 4. 6. ~Dekker~ tut ihrer wiederholt Erwähnung: _Gulls
Hornbook_, Temple Classics, 15. cf. Anm. z. Z. 748.

=135.= Virginall Jackes: An instrument of the spinnet kind, but
made quite rectangular. ~Nares.~ ~Dekker~ erwähnt es auch in seinem
_Gulls Hornbook_, Temple Cl. 25, [cf. dazu die Anm. p. 280.]; in I.
_Honest Whore_, V. 2. M. S. p. 182; II. _Honest Whore_, IV. 3. p. 261.
~Shakespeare~ wendet das Verb to virginal an in _Wint._ I. 2. 125.

=148.= pew-fellow: der denselben Kirchenstuhl mit jemanden teilt, =
companion, cf. _Rich._ III. IV, 4, 58.

=154.= villiacoes = ital. vigliacco. Cf. ~Florio~, _Queen Anna's New
World of Words_, 1611, s. v.: _a rascall_, _a base varlet_, _a knauish
scoundrell_, _a scuruy fellow_. ~Dekker~, _Belman_, Temple Cl. 84: _my
poore Villiaco_. ~Jonson~, _Ev. Man out_ M. Ser. 235: _Now out, base
viliaco!_ auch Sh. _Henry_ VI B, IV. 8. 48.

=158.= _Exit_: sc. ein Diener.

=167.= knocke's = knocke his.

=182.= Justice _Crop_: Es ist wohl mit ~Fleay~, _A Biograph. Chronicle_
I. 368 anzunehmen, dass dieser _Crop_ sich auf den _venerable
cropshin_ (Lupus) in _Poet._ I. 1. M. Ser. p. 272 bezieht; _cropshin_
ist bei Tucca ein Schimpfwort geworden = nobbler; cf. _Poet._ V. 1. p.
354.

=188.= besser: prickt,

=198.= richtiger: _Prickeshaft_, da es Anrede ist.

=213.= _quiontilian_: Mag sein, dass das _o_ unbeabsichtigt
hereingeriet; es könnte aber auch eine scherzhafte Entstellung des
Namens sein, wie sich solche noch andere finden. -- Beachte auch, dass
Vaughan in diesem Auftritt noch nicht an seinem Sprachfehler leidet!

=216.= M. = Master = späterem Ma.

=234/36.= Drei Verszeilen endend mit -- gallants, -- sleep, --
presences,

=245.= gloues, etc.: einfache oder doppelte Wiederholung desselben
Wortes findet sich oft im _Satiromastix_, wohl mit der Absicht, die
gleiche Erscheinung im _Poetaster_ lächerlich zu machen.

=247/56.= Neun Verszeilen: so -- place, -- Batchelors; -- together, --
thether. -- paines -- songs; -- on, -- way? -- pride:

=249.= besser: together;

=256.= Vaughan spricht erst p für b.

=262ff.= Diese Szene erinnert an die Eröffnungsszene des III. Aktes im
_Poetaster_, wo sich Horace eine seiner Oden vorliest. Zugleich wird
hier ~Jonsons~ schwerfälliges Arbeiten durch das mühsame Suchen nach
Reimen verspottet. Vgl. M. Ser. 295.

=267.= richtiger: incloses ebenso Z. 319.

=271.= O me thy Priest inpire: vgl. dazu _Poet._ V. 1. (M. Ser. 361)
_Horatius Flaccus, ... poet, and priest to the Muses_. u. hiezu wieder
_Satirom._ Z. 802.

=278.= Pux? vielleicht eine affectierte Form für pox. Vgl. _North-ward
Hoe_, ~Dekker~ III, 40: _Phil. The puncks in her humer--pax._

=282.= cf. _Poet._ M. Ser. 295:

    _I drink, as I would write,
    In flowing measure, filled with flame and sprite._

=285.= ningle: Asinius' gewöhnliche Anrede Horace gegenüber, statt des
sonst gebräuchlicheren ingle. ningle = mine ingle.

=286.= the nine Muses be his midwiues: Vgl. dazu _Poet._ p. 295: _Cris.
Sweet Horace, Minerva, and the Muses stand auspicious to thy designs!_

=291.= boule: Wiederum eine Anspielung auf die schon mehrfach erwähnte
Ode: _Swell me a bowl with lusty wine, ..._

=292.= Pernassus gewöhnliche Orthographie für Parnassus. Sollte es eine
Anspielung auf die Parnassus Plays enthalten?? Oder erinnerte sich der
Verfasser an _Poet._ III. 1. (p. 315), wo Tucca von Crispinus als _my
Parnassus_ spricht?

=300.= _Helicon_: eine Anspielung auf _England's Helicon_?

=309.= leafe: doppelsinnig! Es gab drei Tabaksorten: _leaf_, _pudding_
und _cane_. Vgl. die entspr. Artikel bei Nares.

=310.= Pipe: ebenfalls doppelsinnig.

=314.= tis an elegancy: ~Jonsons~ Selbstgefälligkeit dient noch öfters
als Zielscheibe für die Poetaster.

=328.= in this: zugleich mit Bezug auf seine Pfeife.

=331.= consort: häufig = concert. Beachte dazu das Wortspiel mit pipe
i. Z. 310.

=332.= by this Candle: Horace arbeitet bei Kerzenlicht. Vgl. dazu _Cyn.
Rev._ III. 2. p. 211: Anaides spricht von Crites: ... _he smells all
lamp-oil with studying by candle-light_.

which is none of Gods Angels: Prof. ~Bang~ meint, dass Dekker hier
wohl eine Stelle aus ~Chapman's~ _Blind Beggar of Alexandria_ 1598
parodieren wird. In diesem Stück kommt eine Figur (Count) vor, deren
_«most dangerous humour» of pistoling_ des öftern erwähnt wird, und
schliesslich versteigt sie sich zu dem Schwur: ... _by this pistol
which is God's angell_ (~Pearson~, vol. I, 33; ~Shepherd~, vol. I, 14).
[~Percy Simpson~ versucht in ~Williams~, _Specimens of the Elisab.
Drama_, Ox. 1905, p. 507 eine andere Erklärung: Mild expressions such
as 'by this light' were invented to avoid profanity; the practice gave
scope to much ingenuity on the part of the wits, and Asinius tries to
ape the fashion.] Der ob. Ausdruck findet sich auch sonst bei ~Dekker~:
_North-ward Hoe_ (~Pearson~, vol. III. 26) _Capt..._ by this Iron
(which is none a gods Angell).

=348.= farder; um 1600 gewöhnliche Schreibung für farther.

=350.= Asinius wird in seinen Worten unterbrochen.

=353.= besser: ist,

=358.= Vgl. dazu den Beginn des III. Aktes i. _Poet._ (M. S. p. 296).
Crispinus stellt Horace als scholar, new turned poet, u. satirist vor
und fährt fort: _I write just in thy vein, I. I am for your «Odes», or
your «Sermones», or any thing indeed._ Vielleicht will ~Dekker~ hierauf
anspielen.

=360.= Musco the gull cryed Mew at it: Zu Musco vgl. _Gull's Hornbook_,
Temple Cl. p. 8: You Courtiers ... I defie your perfumd scorne: and vow
to poyson your Muske cats, if their civet excrement doe but once play
with my nose. You _ordinary Gulles_, that ... will spend your shallow
censure upon the most elaborate Poem ...; ferner ~Marston~, der in
_What you will_, ed. ~Halliwell~ I. 293, Muscovite zu Musk bildet: _Now
may thy breath nere smell sweete ..., thou Muscovite! thou stinking
perfumer!_ (ed. ~Bullen~, II, 415) und _Bussy d'Ambois_, ~Shepherd~,
I. 146 b: Bussy _I_: _should thank you for this kindness, if I thought
these perfumed musk-cats (being out of this privilege) durts but once
mew at us._ Vgl. auch das Muske-cod Z. 963. In _Ev. Man out_, Induct,
p. 121: _Mitis, note me, if ... you can espy a gallant ... who ...
cries mew, and nods._ ~Williams~ gibt in seinen _Specimens_ p. 508 noch
folg. Beispiel: ~Day~, _Parliament of Bees_: 'The Author's Commission
to his Bees' (ed. ~Bullen~, p. 7.), 'If then they mew, reply not you
but bring their names to me'. Siehe auch Anm. z. Z. 29.

=361.= Das Rooke, welches sich auch Z. 431 u. 967 findet scheint ein
Wiederhall des rook aus _Poet._ I. 1. [p. 271: _shall I have my son a
stager now? ... a gull, a rook_] zu sein; cf. auch _Ev. Man in_, I. 4,
(p. 25) _Hang him, rook!_ und _Ev. Man out_, Ind. (p. 120): _But that
a rook ... should affect a «humour»!_ I. 1. p. 129: _A tame rook,_ II.
2. p. 167: _I would know ... why yond fool Should wear a suit of satin?
he? that rook?_

=366.= Palinode -- Reuels: Diese Worte sind auf die _Palinode_ am Ende
von _Cynthia's Revels_ gemünzt.

=368.= Ile fat thy spleane erinnert an _Feed and be fat, my fair
Calipolis_, cf. Anm. z. Z. 1542.

=376.= three glorious Angels: Beim Öffnen des Briefes entfallen
demselben 3 angels als Honorar für Horace; angel = Münze im Werte von
ungefähr 10 sh.

=384.= neck-verse: Wer zum Tode durch den Strang verurteilt war, konnte
das «benefit of clergy» beanspruchen und, wenn er seine Bildung durch
Lesen eines Psalmenverses (neck-verse) nachgewiesen, begnadigt werden.
Ebenso war es ~Ben Jonson~ ergangen. Er hatte nämlich am 22. März
1598 auf den Shordiche Fields mit dem Schauspieler ~Gabriel Spencer~
ein nicht «commentmässiges» Duell ausgefochten (he made an attack),
und denselben getötet. Dafür wurde er vom Gericht zum Tode am Galgen
verurteilt. _He confesses the indictment, asks for the book, reads
like a clerk, is marked with the letter T, and is delivered according
to the statute, etc._ (Aus d. Memorandum d. Clerk of the Peace in
Middlesex, _Athenaeum_ 1886 p. 337.) Das T (= Tyburn) scheint Jonson
doch nicht eingebrannt bekommen zu haben, denn sonst hätten sich seine
Gegner Anspielungen darauf nicht entgehen lassen. -- 1596 hatte Gabr.
~Spencer~ an derselben Stelle unter fast gleichen Umständen einen
«quarrel» ausgekämpft, der für ihn als den Überlebenden dieselben
Folgen hatte, wie anderthalb Jahre später für ~Jonson~. Vgl. _Athenæum_
1886 p. 432 f. u. _Ordish_, _Early London Theatres_, p. 193 ff.

=388.= of what fashion is this knights wit, of what blocke? Vgl. hiezu:
_Poet._ IV. 3 (M. Ser. p. 336) Tuc.... _you whoreson blockhead, 'tis
your only block of wit in fashion... to applaud..._ cf. auch _Much
Ado_, I. 1. 77.

=390.= besser: knight;

=391.= gallants: sc. ~Dekker~, ~Marston~.

=396.= horses walking a'th top of Paules: gemeint ist das bekannte
Kunststück, welches das tanzende Pferd des Bankes, Morocco, im J. 1600
ausführte. ~Bankes~ soll «vintner in Cheapside» gewesen sein; er ging
mit seinem Wunderpferd auf Reisen und wurde, wenn wir ~Jonson~ glauben
dürfen, mit seinem Pferd in Rom als «verhext» verbrannt:

    _But 'mongst these Tiberts, who do you think there was?
    Old Banks the jugler, our Pythagoras,
    Grave tutor to the learned horse; both which,
    Being, beyond sea, burned for one witch,
    Their spirits transmigrated to a cat._

                                                  Epigr. 133, ed. 1816.

Das Vorkommnis wurde in der zeitgenössischen Literatur oft erwähnt; s.
die Artikel: Banks's Horse und Morocco bei ~Nares~. ~Dekker~ erwähnt es
selbst wiederholt: _Satirm._ 583, in _Gull's Hornbook_, Temple Cl. p.
37, in _Dead Term_, ed. Grosart, IV. 49. ~Jonson~ erwähnt es ausserdem
in _Ev. Man out_, IV. 2. p. 215. -- Nach ~Williams~, _Specimens_, p.
508, befindet sich in Chambers' _Book of Days_, I, 225: die Wiedergabe
eines zeitgenössischen Holzschnittes, welcher das Pferd mit seinem
Herrn zeigt.

=401.= lymping tongu'd wird der Kapitän genannt, da er nach _Poet._ IV.
3 (p. 334) stottert; vgl. Anm. z. Z. 2486.

=402.= buffe Jerkin: vgl. _Devil's Answer_ (ed. Grosart p. 119):
Captaines in buffe Jerkin. ~Jonson~ lässt Tucca, _Poet._ III. 1. p. 305
zwei Polizeidiener «you inhuman pilchers» schimpfen. _Buff jerkins_ und
_pilchers_ waren also die übliche Kleidung von captains und bailiffs.

tis out of his Element: dieser Ausdruck findet sich bereits in _Cynth.
Rev._ I. 1. M. Ser. p. 185: Amorphus: Step into some _ragioni del
stato_, and so make my induction! that were above him too; and out
of his element, I fear. Hier spielt ~Dekker~ vielleicht auf ein Wort
Tucca's im _Poet._ I. 1. p. 271 an: ..._talk to tapsters and ostlers,
you slave; they are i'your element, go_. Vgl. auch dazu ~Sh.~ _Twelf
Night_, III. 1. 65 und III. 4. 137. _I am not of your element._

=403.= to bee stab'd with his dudgion wit: eine Nachbildung des
_dudgeon-dagger_, worauf _N. E. D._ s. v. Nº 4 hinweist. _d.-d._ = ein
Dolch, der billig ist, da sein Griff aus wohlfeilem box-wood gemacht
ist; also für unseren Fall _dudgeon_, in attributiver Stellung, =
armselig.

=405/07.= Diese Zeilen lehnen sich an an _Poet._ III. 1. p. 315: Hist.:
_we have hired him_ (Demetrius) _to abuse Horace, and bring him in, in
a play_, und IV. 4. p. 341. Tuc. _... come, we'll go see how forward
our journeyman is toward the untrussing of him_.

Faninus, cf. Z. 414, kann sowohl Druckfehler als beabsichtigte
Entstellung sein.

Bricklayer: ~Jonson~ war in seiner Jugend im Gewerbe seines
Stiefvaters, der Maurermeister war, tätig.

=409.= copper-lace: Vgl. _Poet._ III. 1. p. 311: Tuc. ..._I shall be
presented by a sort of copper-laced scoundrels of you_. Schauspieler
trugen «copper-lace»; vgl. dazu ~Henslowe~, _Diary._ p. 201 u. 274ff.

=414.= Dor: Vgl. die versch. «dor» in _Cynth. Rev._ III. 2. p. 213. u.
V. 2. p. 255f.

=415.= cob-web-lawne peece of a Poet: Die vier von ~Crites~ (Jonson)
in _Cynth. Rev._ III. 2. p. 215ff. durchgehechelten «men» werden
_Arachnean workers_ und _knot of spiders_ genannt und ihre Unterhaltung
mit _cobweb stuff_ bezeichnet.

=416/18.= Diese drei Zeilen sind mit Ausnahme des ersten Wortes (Why
statt What) wörtliches Zitat aus _Cynth. Rev._ III. 2. p. 213; ebenso
die folgenden Zeilen

=421/23,= nur hat ~Dekker~ in der letzten _arrogant_ statt _ignorant_
gesetzt. Diese Zeilen bilden den bedeutsamsten Teil im Drama, denn
hiemit dokumentiert ~Dekker~, dass er sich in _Cynthia's Revels_
betroffen fühlt. The one = Hedon = Crispinus = ~Marston~; The other =
Anaides = Demetrius = ~Dekker~.

=424.= Criticus ist ~Jonson's~ Name in der Qarto 1601 der _Fountaine
of Selfe-Loue_, während die Folio ~Crites~ hat. Dort ist, wie mir Herr
Prof. ~Bang~ mitteilt, Criticus z. B. auch auf p. 196 Z. 695 stehen
geblieben.

Reuel = scherzen, spassen, natürlich wieder mit Bez. auf _Cynthia's
Revels_.

=433.= stray: vielleicht Druckfehler für stay; könnte es aber nicht
auch = (tritt) auf die Seite! sein?

=441.= besser: vilye; und la,

sa = save.

=449.= Vgl. _Cyn. Rev._ II. 1. p. 196. Merc. spricht von Anaides:
..._he never ...prays but for a pipe of pudding-tobacco_.

~Simpson~ teilt i. ~Williams~, _Spec._ p. 500 aus ~John Swan~,
_Speculum Mundi_, 1635, p. 266 mit, dass sich die Amerikanerinnen des
Tabakgenusses enthalten, da er für ihre Leibesbeschaffenheit nachteilig
wäre, _and yet some women of England use it often, as well as men_.

=450.= Flanius: scherzhaft entstellt wie Z. 600.

=454.= to take him in snuffe: Vgl. dazu _Poet._ II. 1. p. 284. Chloe.
_...I take it highly in snuff, to learn how to entertain gentlefolks
of you._ ferner _Ev. M. in_ IV. 1. p. 73: _Nay, you lamp of virginity,
that take it in snuff so, come, and cherish this tame poetical fury in
your servant_. und _Ev. M. out._ Ind. p. 122: _How monstrous... is't to
see a fellow... Sit like an Aristarchus... Taking men's lines, with a
tobacco face, In snuff..._

=457.= s. Anm. z. Z. 402 -- to take one's death = to die auch bei Sh.
H. 6. B. II. 3. 90 u. H. 6. C. I. 3. 35.

=460.= _As in presenti_: quasi: ass in present I, sagt ~Small~ p.
125. Der Ausdruck erinnert u. a. an die köstliche Grammatikstunde in
~Marston's~, _What you will_ II. 1. p. 247 (Halliwell), wo Holifernes
Pippo auch nicht recht über das _As in presenti_ wegkommt. Die alte
Regel lautet vollständig: _As_ in praesenti perfectum format in _aui_.

=461.= leafe wieder doppelsinnig.

=463/4.= Mit Rosenwasser will er die Galle, die aus seiner Feder
fliessen könnte, mildern. Vgl. dazu _Poet._ Apol. Dial. p. 377.

    _I can profess, I never writ that piece
    More innocent, or empty of offence.
    Some salt it had, but neither tooth nor gall..._

und dazu wieder _Satirom._ ZZ: 814, 1258, 1261, 1527, 1957/58.

richtiger: dreine ohne Komma; oder setze Komma auch nach Inke.

=465.= wey = weigh

=481.= snakes: Anspielung auf den Envy-Prologue i. _Poet._ p. 265:

    _Here will be subject for my snakes and me._

=486.= richtiger: skrewd

=488.= richtiger: ranckles

=493.= Anspielung auf die Pillenszene im _Poet._ V. 1 (3).

=499.= aleageance = allegiance

=506.= Diese Zeile dürfte eine Anspielung auf _Ev. Man out_, Ind p.
117f. enthalten:

    _I'll strip the ragged follies of the time,
    Naked as at their birth --
                              and with a whip of steel,
    Print wounding lashes in their iron ribs._

=511.= _Our kingdomes golden chaine_: ~Simpson~ verweist hierzu (p.
509) auf ~Day~, _Law-Tricks_, 1608, Sig. Bv. --

    _Lur._ Wrong not the Law. _Pol._ I cannot, 'tis divine:
           And I'le compare it to a golden chain
           That links the body of a commonwealth
           Into a firm and formal union.

=514/16=. Der Sinn dieser Zeilen ist, wie schon ~Small~ p. 30
festgestellt hat: unter 500 werden 400 sofort den Mann herausfinden,
auf den sich die Satire bezieht; und nicht wie ~Pennyman~, p. 76 meint,
die «vier» sind ~Marston~, ~Daniel~, ~Lodge~ und ~Monday~, welche schon
in _Ev. Man out_ angegriffen wurden.

=521/2.= cf. Anm. z. Z. 493. und besonders _Poet._ V. 1. p. 366:

    _Hor._ Ay, please it, great Caesar, I have pills about me,
           Mixt with the whitest kind of hellebore,
           Would give a light vomit; that should pure
           His brain and stomach of those tumorous heats:

=523ff.= Diese Zeilen sind charakteristisch für ~Dekker's~ Verhältnis
zu ~Jonson~. Demetrius spricht bestimmt, aber nicht gehässig.

Vgl. dazu die Worte des Horace i. _Poet._ III. 1. p. 319.

    But this my style no living man shall touch,
    If first I be not forced by base reproach;
    But, like a sheathed sword, it shall defend
    My innocent life; for why should I contend
    To draw it out, when no malicious thief
    Robs my good name, the treasure of my life?

u. das «ensis vagina tectus» des ~Horaz~, _Sat._ II. 1. 40/41.

=538.= besser: of,

=539.= Vgl. dazu Z. 463/64.

=554.= bastards sind die «Dichterlinge». In der Vorrede zum _Wonderful
Year_ werden die Neun Musen als wenches bezeichnet.

=555.= Sollte gailery einen Anklang an gay enthalten? _Gorgeous Gallery
of gallant Inventions_ = Buchtitel (Notiz i. d. Quarto d. Bodleiana.)

=556.= lyme & hayre-rascal = Mörtelbuben. Wieder eine Anspielung auf
den bricklayer ~Jonson~. -- Vgl. _Pat. Grissil_, ed. Hübsch, Z. 587:
_where's the lime & hair Emulo?_ -- ~Bang~ verweist _Archiv_ 107, p.
110 noch auf ~Lilly's~ _Gallathea_ II. 2. (~Fairh.~ S. 234), wo des
Alcumists boy von _unsleked lyme, chalke, ashes, hayre, and what not_
spricht.

=558.= Rug: rauher Wollstoff; rug-gown oft von Gelehrten getragen.
vgl. dazu _Ev. Man out_ III. 2. p. 189 Sordido: ..._You sky-staring
coxcombs... you are good for nothing but to ...make rug-gowns dear!_
-- ~Dekker~ zahlt hier heim, was Horace über Crispinus' Kleidung sagt:
_your satin sleeve begins to fret at the rug that is underneath it_.
_Poet._ III, 1. p. 297.

=559.= Knights ath Poste: ein falscher Zeuge. Der Ausdruck findet sich
öfter bei ~Dekker~, vgl. _Old Fortunatus_, ed. Scherer, Z. 358 u. die
Anmerkung dazu. ~Dekker~ gibt in seinem _Dead Tearme_ eine Erklärung,
die hieher sehr gut passt: _some are called Knights only for their
swearing_.

=560.= copper-fact = copper-faced.

=562.= Die Zeile enthält einen Hieb auf ~Jonsons~ langsames Arbeiten.

=563.= Es dürfte richtiger sein zu lesen: houre. Saue

=564.= ~Jonson~ hatte offenbar einen sehr dürftigen Bartwuchs; eine
Bestätigung dafür haben wir wohl in dem Epitaph, welches sich in den
_Conversations with Drummond_, XVII. ed. Ph. ~Sidney~, p. 57 findet:

    _Here lies honest Ben,
    That had not a beard on his chen._

Auch Lampatho (~Jonson~) in _What you will_ II. 1. p. 240 wird «tabour
faced» genannt.

=565.= richtiger: thee. Is this thy Tub [,] Diogenes? sc. das Fass des
Diogenes, aber vielleicht spielt Tucca auf _A Tale of a Tub_ an.

=574.= Mephostophiles: Anspielung auf den Mephistopheles des
Faust-Dramas.

=576.= fire and brimstone: auch bei ~Shakespeare~, _Tw._ II. 5. 56, u.
_Oth._ IV. 1. 245.

=577.= Sarsens (= Saracen's) Head at Newgate war ein Wirtshaus (?).
Vgl. _The Gentle Craft_, Palästra 18, II. p. 60: Harry beschmierte
Tom Drum's Gesicht so mit Blut, dass es aussah wie «_the image of Bred
Streete Corner, or rather like the Sarazine's Head without Newgate_».
-- Cf. auch _Shoemaker's Holiday_, V. 1. (M. Ser. p. 68): _Lady Madgy,
thou had'st never covered thy Saracen's head with this French flap_.

=578.= dunkirkes guts: narrow passage, von der gleichnamigen Stadt
abgeleitet.

=582.= a dagger Pye: The Dagger war ein berühmtes aber auch
berüchtigtes Speisehaus in Holborn. Sein gutes Bier und seine
vorzüglichen Pasteten werden öfters erwähnt, s. ~Nares~. Vgl. auch
_Fortunatus_, Z. 961ff., und _Gull's Hornbook_ p. 16.

=588.= but one suite to thy backe: wieder eine Anspielung auf ~Jonsons~
schlechte und wenig auswahlreiche Garderobe.

=589.= _Asper_ ist der Deckname ~Jonsons~ in _Ev. Man out_, _Criticus_
(Qu.) = _Crites_ (Fol.), wie schon erwähnt, in _Cynth. Rev._ und
_Horace_ im _Poetaster_.

=589/90.= «thy tytle's longer a reading then the Stile a the big
Turkes» erinnert nach ~Koeppel~, Studien üb. _Shakespeare's Wirkung_,
_Mat._ IX 4 an H. 6. A. IV. 7. 72ff.

    Pucelle: _Here is a silly stately style indeed!
             The Turk, that two and fifty kingdoms hath,
             Writes not so tedious a style as this._

=596.= Hunkes: einer der volkstümlich gewordenen Bären aus dem
Bärengarten. ~Malone~, sagt ~Nares~, glaubt, dass die Tiere dortselbst
nach ihrem Herren benannt wurden: also hier nach Harry Hunkes. Vgl.
~John Davies'~ _Epigram_, Works ed. Grosart, Chertsay Worthies Libr.
18, p. 41:

    Publius, a student of the common law,
    To Paris Garden does himself with-draw:
    ...
    To see old Harry Hunkes, and Sacarson. (auch ein Bär.)

=600ff.= Vgl. mit Bez. auf Crispinus die schon zu Z. 558 herangezogene
Stelle aus d. _Poet._; mit Bez. auf Demetrius vgl. _Poet._ III. 1 p.
315. Hist: _...his doublet's a little decayed; he is otherways a very
simple honest fellow, sir, one Demetrius, a dresser of plays etc._

=601.= Reauel'd = ravel'd

=603.= two = to

ban-dog: sehr scharfe Kettenhunde, wie sie nach ~Nares~ auch zur
Bärenhatz gehalten wurden. Tucca heisst _Poet._ III. 1, (p. 305) die
beiden Pyrgi ban-dogs. s. auch. _Satirom._ Z. 1525. Vgl. _Shoemaker's
Holiday_ II. 3. (M. Ser. p. 19): Firk: _O master, is't you that speak
bandog... this morning_ (= laut sprechen, schreien).

=607.= olde Coale: Ob Tucca hiemit auf eine bestimmte Sache oder Person
anspielt, die er auf Horace beziehen möchte, ist schwer zu sagen. In
_Malcontent_, Akt II. Sc. 2 wird «old Cole» gleichfalls als Anrede
verwendet. Mal. begrüsst Maquerelle mit den Worten: _Blesse yee, cast a
ladies! Ha, Dipsas, how doost thou, old Cole?_

Maqu. _Olde Cole?_

Mal. _I, olde Cole! Mee thinkes thou liest like a brand under billets
of greene wood. Hee that will inflame a yong wenches hart, let him lay
close to her! An old cole that hath first bin fired, a pandresse, my
half-burnt lint, who though thou canst not flame thy selfe, yet arte
able to set a thousand virgins tapers afire;..._

Herr Prof. ~Bang~ verwies mich auf folgende Stelle in _Look About You_
in ~Hazl.-Dods.~ VII, p. 476:

Rob. _Ah, old Cole, now look about: you are catcht._

~Fleay~ will dieses old Cold (I, p. 273) auf den Friar Cole der
_Lascivious Queen_ beziehen, doch spielt der Bruder Cole eine viel
zu untergeordnete Rolle, als dass er Veranlassung zur Schöpfung des
Ausdruckes hätte geben können.

--Der Hinweis auf _Popular Antiquities of Great-Britain_, 1870, III,
322 den Hazl.-Dods. zu der Stelle aus _Look About You_ bietet, ist
aus chronologischen Gründen für die Erklärung von _Old Cole_, _Coale_
wertlos.

=609.= thy Damons--their Pithyasse: Da Tucca hauptsächlich das
Theaterrepertoire um 1600 im Munde führt, so ist hier zunächst an
~Chettle's~ _Damon and Pythias_ 1600 zu denken (~Fleay~, _Biogr.
Chron._ I. 69), denn die Tragikomödie _Damon and Pithias_ von ~Rich.
Edwardes~, welche Weihnachten 1564/5 vor der Königin aufgeführt wurde
(~Ward~ I. 211), liegt zu weit ab. Bemerkt sei noch, dass durch
Entstellung des zweiten Namens zu pithy-asse für Horace ein besonderes
Epitheton gemünzt wurde; vielleicht ist Damons auch gleich Dæmons.

=611f.= ~Dekker~ gibt hier zurück, was ihm _Poet._ V. 1 p. 361.
vorgeworfen wird: _Demetrius Fannius, play-dresser, and plagiary_, und
spielt andererseits auf sein Zusammenarbeiten mit ~Jonson~ an.

=613.= besser: owne, olde

=618.= besser: Flaccus;

=619.= heyre apparent of Helicon: Im _Wonderfull yeare 1603_,
ed. Grosart, I. 79 spricht ~Dekker~ (i. To the Reader) von einer
Gesellschaft von Leuten, welche tun als ob sie die einzigen
Befehlshaber der «maine Army of Poesie» wären, und welche sich als
die _heires-apparent to Helicon_ ausgeben. Er empfiehlt ausserdem den
Buchhändlern gegen sie die Griechen und Lateiner als Geschütz auffahren
zu lassen, weil sie sich gegen diese allein nicht herantrauten.

=621.= kann wohl nicht anders gelesen werden als: I, wafer-face, your
Ningle. Wafer-face = Blassgesicht (~Bang~).

=622.= at's = at his.

=624.= wilte eate any small coale: Prof. ~Bang~ meint das _small coale_
könnte sich auf den Mund eines man in gingerbread beziehen, der durch
ein Stückchen Kohle markiert wurde. _Buy any small Coale_ (der Ruf der
colliers) in _West-ward Hoe_, ~Dekker~, Works II. 319. Dieser Ruf soll
in einem alten Stück: _A Knacke to know an honest Man_, 1596 vorkommen,
nämlich: Will you buy any coles, fine small coles? (cit. n. ~Dekker~,
Works II. p. 388).

=629.= Suites doppelsinnig!

=631.= th'art an honest low minded Pigmey: ~Dekker~ quittiert hiemit
die Worte i. _Poet._ III. 1. p. 315: _he is otherways a very simple
honest fellow, sir, one Demetrius_.

=632ff.= ~Jonson~ war also auch als Schauspieler tätig. Er spielte den
Jeronimo in der _Spanish Tragedy_ und borgte sich dazu von Roscius the
Stager, i.e. Rich. ~Burbage~, ein Kostüm, das er verlaust zurücksandte
[bez. Roscius-Burbage, s. _DNB_ VII. 286 u. 288]. -- Nicodemus wird
wohl der angebliche Verfasser des apokryphen Evangeliums Nicodemi sein.

=641/2.= fifteene weekes: cf. _Poet_. Envy-Prol. p. 265.

              _--these fifteen weeks--
    So long as since the plot was but an embrion--
    Have I, with burning lights mixed vigilant thoughts,
    In expectation of this hated play._

cockatrice = basilisk. ~Jonson~ erwähnt es _Ev. Man out_, I. 1. p.
136. Das Ganze ist wieder ein Hieb auf ~Jonson's~ langsames Arbeiten.
Seine Gegner warfen ihm vor, dass er alle Jahre nur _ein_ Stück fertig
bringe, was er im _Apol. Dial._ p. 381 auch bestätigt:

    Pol.         _--they say you're slow,
    And scarce bring forth a play a year._
    Aut.               _'Tis true_
    _I would they could not say, that I did that!_

Vgl. auch _Satirom_. Z. 2510/11. ~Jonson~ merkte sich das und in dem
Prol. zu _Volpone_ erwidert er:

    _And when his plays come forth, think they can flout them,
    With saying, he was a year about them.
    To this there needs no lie, but this his creature,
    Which was two months since no feature:_ etc.
    _'Tis known, five weeks fully penned it,
    From his own hand, without a coadjutor,
    Novice, journeyman, or tutor._                     (M. Ser. III. 6.)

=644.= Puncke = bawd.

=645.= poore: ~Jonson~ erwähnt seine Armut selbst im _Poet._ V. 1. p.
349.

    _Caes._ ...Horace, what say'st thou, that art the poorest,
            And likeliest to envy, or to detract?

    _Hor._ Caesar speaks after common men in this,
           To make a diff'rence of me, for my poorness; etc.

und in _Cynth. Rev._ V. 2. p. 254, wo Crites von sich sagt: _That am a
creature so despised and poor_.

=647.= Pilles: cf. Anm. z. Z. 493. -- Die folgenden Worte sind
jedenfalls in Erinnerung an Tucca's Worte i. _Poet._ III. 1. p. 310
geschrieben: _Rascal, to him_ (Crispinus), _cherish his muse, go; thou
hast forty -- forty shillings, I mean, stinkard; ...he shall write for
thee..._

=648.= Angelica bringt ~Koeppel~ in s. _Ben Jonson's Wirkung_ etc. p.
44 in möglichen Zusammenhang mit Greene's _Orlando_; Angelica wird auch
sonst noch erwähnt, vgl. Anm. p. 44 f. Für Tucca klingt natürlich der
Eigenname an angel = 10 sh. an.

=650.= Goe by Jeronimo: ein häufig angewandtes Zitat aus der _Spanish
Tragedy_. ~Dekker~ bringt es auch in _Shoem. Holiday_ p. 17; und in
_Lanthorne and Candle-Light_ (Temple Cl. p. 270) wird auch der olde
Jeronimo erwähnt.

=651.= Bason (auch bei Sh.) = basin; when = vorwärts! los!

=652.= Mæcenas auch Figur im _Poetaster_.

vp's = up his; at's = at us.

=655.= _Summa totalis_ findet sich zweimal in ~Dekker's~ _Hornbook_, p.
36. u. 58.

=662ff.= Worauf diese Zeilen anspielen, ist uns unbekannt. Die Stelle
sieht überhaupt verderbt aus. Prof. ~Bang~ meint es könnte eine Zeile
oder mehr ausgefallen sein.

has wäre jetzt auf alle Fälle = he has zu lesen; he mit Bez. auf
~Jonson's~ Gegner, der ihm die schönen Namen an den Kopf warf; so wie
der Text jetzt da steht, würde he sich auf Tucca beziehen können.

=666.= I ha seene... thy golles: es ist der Tag an dem ~Jonson~ vor dem
Richter stand, cf. Anm. z. Z. 384; ferner bezieht sich diese Stelle
auf die Worte Tucca's in der Anklage-Szene des _Poet._ V. 1 (p. 360):
_...bring the ...slaves to the bar, do. Make them hold up their spread
golls._ Zu _goll_, das ein verächtlicher Ausdruck für _hand_ ist, s.
~Nares~, sub. v.

Spur-royall, od. spur-ryal: eine Goldmünze im Werte von 15 sh. It had
a star on the reverse, resembling the rowel of a spur. ~Nares~. A
soldier's spur-royal (Werbegeld) scheinen 12 d gewesen zu sein.

=670.= Porrex: Ferrex and Porrex.

teston oder testril od. tester = 6 d.

=671.= Mandrake: der Alraun; öfters i. Bez. auf Personen angewandt, so
auch bei Sh. (s. Alex. ~Schmidt~), wohl wegen der menschenähnlichen
Wurzel. Cf. ~Nares~ sub _Mandragora_ u. _Mandrake_ mit vielen Belegen.

=672.= Skeldring: to skelder = betteln, namentlich unter der falschen
Angabe ein invalider Soldat zu sein, also auch = schwindeln. Da das
Wort für Tucca's Wesen eine gewisse Bedeutung hat, sind vielleicht
folgende Hinweise angezeigt.

    _Poet._ I. 1. p. 269. ..._the mad skeldring captain_ (Tucca).
            III. 1. p. 310. Tucca. _A man may skelder ye... of half a
                 dozen shillings, or so._
            V. 1. p. 360. Tucca. _Would I were abroad skeldering for a
                 drachme._

Als Ergänzung: _Ev. Man out._ Characters, Shift: _His profession is
skeldering._

=673.= _Amadis de Gaule_: Anspielung auf den bekannten Romanhelden.

=680.= leather Captaine: mit Bez. auf das Lederwams.

=687.= Sir Vaughan ist nun im Vollbesitz seines Sprachfehlers: _b_ wird
bei ihm zu _p_, _sh_ zu _s_, _j_ zu _s_, _qu_ zu _h_, etc.; er spricht
nur schwer _lf_ und bringt kein _w_ heraus. Allerdings beachtet der
Dichter diesen Sprachfehler nicht immer ganz consequent.

=699.= oman = woman.

=700.= fan: Mit Fächern wurde damals ein grosser Luxus getrieben, und
je nach ihrer Ausstattung stiegen sie im Werte bis zu £. 40. Manche
hatten einen so langen Stiel, dass sie als Spazierstöcke verwendet
wurden u. Damen als Züchtigungsmittel für ihre Kinder dienten. Dass
sie in der zeitgenössischen Literatur oft erwähnt wurden, ist nur
selbstverständlich; vgl. die betr. Art. bei ~Nares~, ~Schmidt~,
_Sh.-Lex._ u. auch ~Mallory~, _Poetaster_, p. 207.

=724.= Beachte das Wortspiel in crow, dazu cocke i. Z. 727 und dazu
wieder das combe in Z. 728: cockscomb.

=741.= loue has two tailes: Sprichwort? tailes = tales?

=742/4.= Was Vaughan hier sagt ist so ziemlich Unsinn. Mutton hat
hier die Bedeutung von «Hure». Also loue without Mutton is wise meate,
folglich = a bunch of Reddis!

=748.= pinning ist das Ausstopfen von Löchern im Mauerwerk, mit
kleineren Steinen; die Zweideutigkeit des Ausdruckes ist leicht zu
erkennen; vgl. dazu das folgende poak.

=761.= Erinnert an _Musicke with her siluer sound_, in _Fortunatus_ 343
u. _Sh. Rom._ IV. 5, 142.

=765.= a Hall! = Platz da! Ein Ausruf der häufig auch auf der Bühne
gebraucht wurde, um Platz zu schaffen für neu eintretende Personen, für
pageants, etc.

=773.= Sentlemen fall in before the Ladyes ist zweideutig; vgl. dazu go
in before, pass in before = geschlechtlichen Umgang haben.

=779.= one word = das «Ja» Wort.

=780.= head = maidenhead.

=800.= puzd = buzzed

a hundred merie tales: eines der _Shakespeare Jest-Books_, erwähnt
in _Ado._ II. 1. 135. Gedruckt 1526 von ~Rastell~, ins _Stat. Reg._
eingetragen 1557/8 u. 1582 (~Anders~, H., _Shakespeare's Books_, 1904.
p. 191.).

lyce wird wieder doppelsinnig sein.

=803.= Sapline = chaplain

=807.= shalke for sheese = chalk for cheese; cf. _Mat._ I. 74, z. Z.
867, wo ~Bang~ ausführlich darüber handelt, to take ch. for ch. = an
inferior article for a good one (_Cent. Dict._).

=809.= Horace, der im V. Akt des _Poetasters_ als eine bei Hof wohl
bekannte und gerngesehene Persönlichkeit auftritt, muss es hier und Z.
817 über sich ergehen lassen, dass er als dem König gänzlich unbekannt
hingestellt wird.

=813.= singes ballads: ~Jonson~ dichtete also auch Balladen. Vgl.
~Bang~, _Engl. Stud._ 28, 207.

=824.= Miniuer cappe: doppelsinnig: Miniuer = Namen der Trägerin, und =
Grauwerk; vgl. _Shoem. Holiday_, V. 4. (p. 80): _Mother Miniver cap_.

=826.= daunce the saking of the seetes: shaking of the sheetes ein
ländlicher Tanz; vgl. ~Nares~ sub. v. _Shoem. Holiday_, p. 64, 82.
~Nares~ Bemerkung: «often alluded to, but seldom without an indecent
intimation», findet in den folgenden Zeilen ihre Bestätigung.

=851.= besser: nere.

=870.= fadom Nebenform zu fathom.

=871.= besser: subiects

=883/4.= _Cri._ u. _Dem._ sprechen seitwärts unter sich.

=898.= Zodiacke ist ein sog. Marstonian word und in _Ev. Man out_. III.
1, p. 178 gebrandmarkt. Vgl. dazu die Listen bei ~Penniman~, _War_ 51¹,
~Small~, p. 41 u. 45.

=924.= Endimions: Endimion der Geliebte der Selene (Luna). Hier
wahrscheinlich Anspielung auf ~Lyly's~ _Endimion, the Man in the Moon_.

=945.= th'art able ...in England: Im Anschluss an Z. 610 hat ~Bang~
i.d. _Engl. Stud._ 28. 213 bereits darauf hingewiesen, dass diese Worte
als Erwiderung auf _Poet._ IV. 1. p. 328. anzusehen sind: Dem. _Horace!
he is a mere sponge; nothing but Humours, and observation; he goes up
and down sucking from every society, and when he comes home, squeezes
himself dry again._

=955.= lies: names, it passes. Zu it passes (= es spottet aller
Beschreibung) s. ~Schmidt~, _Sh. Lex._ sub. pass, 4.

=957.= thou makst me _Conniue_ too long: Dies connive geht zurück
auf _Cynth. Rev._ IV. 1. p. 231. Moria: ..._there is more respect
requirable, howsoe'er you seem to connive_. ~Gifford~, II. 300, weist
bereits darauf hin, dass sich hier ~Dekker~ über das connive, welches
gewöhnlich ohne die Präposition gebraucht wird, lustig macht.

=963.= by this feather: Federn wurden damals viel von Herrn auf den
Hüten, von Damen an den Fächern getragen; cf. die oft zitierte Stelle
aus d. _Gull's Hornbook_ (T. Cl. p. 52 f.): _if the writer be a fellow
that hath either epigrammed you, or hath had a flirt at your mistris,
or hath brought either your feather, or your red beard, ... on the
stage, you shall disgrace him worse then by tossing him in a blancket_;
vgl. auch ~Nares~, s. v. und die Anm. bei ~Mallory~, p. 177f.

=974.= Ma. Justice Shallow: Shallow, a country justice, i.d. _Merry
Wives of Windsor_, der i. H.IV.B. wiederkehrt.

=976.= heere be Epigrams vpon Tucca: vgl. dazu die längere Replik
~Jonson's~ i. _Apol. Dial._ p. 378f., welche mit den Worten beginnt:

    _Then, for the captain, I will only speak
    An epigram I here have made: it is
    «Unto true soldiers.»_

=977.= Crispin-asse: Nachahmung von _Poet._ II. 1. p. 285: Cris. ...
_my name is Crispinus, or Cri-spinas indeed_. u. V. 1. p. 361. Tib.
... _Crispinus, alias Crispinas, poetaster_ ..., was wieder an den
_Aristarchus, or -- stark-ass_ in _Ev. Man out_, Ind. p. 122 erinnert.

=978.= besser: Play-dresser, Cf. _Poet._ III. 1. p. 315: _one
Demetrius, a dresser of plays about the town, here_ und später die
schon z. Z. 611. cit. Stelle V. 3 p. 361. ~Marston~ ist Poetaster,
~Dekker~ nur Playdresser, ein Vorwurf, der um diese Zeit auch ~Jonson~
gemacht werden konnte, denn er hat damals die _Spanish Tragedy_
überarbeitet und dafür von Henslowe (_Diary_ 201 u. 223) im Sept. 1601
und Juni 1602 Honorar erhalten. Allerdings hat ~Gifford~ Recht, wenn er
zur ersteren _Poet._-Stelle sagt, dass kein Dichter bei Henslowe so oft
als «altering or amending old plays» erwähnt wird wie gerade ~Dekker~.

=980/81.= Ob ~Dekker~ durch die zweimalige Einführung des «Moor» im
_Poet._ III. 1. gereizt wurde, wie ~Gifford~ annimmt, mag dahingestellt
bleiben (cf. ~Mallory~, Anm. p. 202), immerhin aber sei auf die Stelle
(M. Ser. 316): «_Where art thou, boy? Where is Calipolis?_» etc., ein
Zitat aus ~Peele's~ _Battle of Alcazar_, hingewiesen, mit der die ZZ.
980f. im _Satirom._ im engen Zusammenhang stehen. -- Hinsichtlich
dieser Zeilen meint ~Fleay~, _Chron._ I. 127f., dass sie Bezug haben
auf _The Famous History of The Life and Death of Captain Thomas
Stukeley_ (1596), ein Stück das offenbar drei Autoren hat. Einer davon
ist ~Peele~, der den Alcazar-Teil dazu lieferte. Das Stück wurde
verschiedentlich geändert und schliesslich 1600 wahrscheinlich für die
~Paul's Boys~ hergerichtet. «Dekker had patched up the play with half
of one by Peele on the Moor Mahomet, and then published it». -- ~Fleay~
drückt sich hier etwas unklar aus. Tatsache ist nur, dass Tom Stukely
in der _Battle of Alcazar_ und in der _Famous History_, etc. vorkommt,
vgl. dazu ~Ward~, I. p. 370f. u. Note 3. Da aber das Verhältnis des
letzteren Stückes zum _Alcazar_ noch nicht feststeht, so kann man
schwerlich behaupten, _Stukeley_ sei das zweite Moor-Stück. -- Der Sinn
von Z. 980f. ist doch der: ~Dekker~ hat aus einem älteren Moor-Stück
zwei neue gemacht. Wie diese Stücke aussahen wissen wir nicht. Prof.
~Bang~ glaubt, dass das Citat aus _Alcazar_ bei ~Jonson~, _Poet._ III,
direkt beweist, dass es sich um eine Umarbeitung des ~Peele~'schen
Stückes handelte, von dem wir jedoch nur die Originalrezension kennen.
Eine andere Frage wäre es, ob eines von ~Dekker's~ Moor-Stücken nicht
in _Lust's Dominion or the Lascivious Queen_ vorliegt, das ~Fleay~,
I, 272, mit der _Spanish Moor's Tragedy_ von ~Haughton~, ~Day~ und
~Dekker~ identifizieren möchte, eine Annahme, welcher ~Ward~, II, 467,
nicht ganz beistimmt. Sollte ~Fleay~ doch Recht behalten, so wäre immer
noch das zweite Moor-Stück ~Dekker's~ unbekannt.

=982.= these Poet-apes, womit eigentlich der folgende Vers beginnen
sollte, sind ~Marston~ und ~Dekker~. Der Ausdruck selbst weist zurück
auf den Envy-Prol. p. 266: _Are there no players here? no poet-apes?_
vgl. dazu ~Jonson's~ Epigr. 56 _On Poet-ape_, das wahrscheinlich auf
~Marston~ gemünzt war.

=988.= Rosamond: Rosamond Clifford, Geliebte Heinrichs II. Ihr
Schicksal wurde in altenglischen Balladen und in neuerer Zeit von
~Addison~ und ~M. Edgeworth~ behandelt.

=994.= lies: fled

=996/98.= Drei nahezu wörtlich zitierte Zeilen aus den sieben Versen
beginnend mit: _And therefore opens he_ bis _to learned eares_ des
Prologs zu _Cynthia's Revels_.

=1006.= lies: All, Widdow?

[your first man

In meiner Ausgabe der _Queene_ habe ich in Anmerkung 3216 auf diesen
Ausdruck aufmerksam gemacht und u. a. auf _The Witch of Edmonton_ III,
1 (I am thy first man, ~sculler~) hingewiesen. Inzwischen finde ich ein
zweites Beispiel, in dem _the first man_ eine ganz bestimmte, der eben
citierten Stelle scheinbar diametral entgegenlaufende Bedeutung haben
muss, in _Sir Thomas Ouerbury His Wife_ etc., London, 1627, fol. N 3ͮ,
wo es heisst: _A Water-man._ Is one that hath learnt to speake well of
himselfe; for alwaies hee names himselfe, _The first Man_.

Soll das heissen: Ich bin der erste, der ins Boot steigt und bin als
Ruderer überhaupt die Hauptperson?

Vom Passagier gesagt hiesse es etwa soviel als «ich bin die
Hauptperson, der erste der Dich engagiert und also auch bezahlt» u.s.w.
Die anderen _l. c._ aufgeführten Beispiele wären dann im fig. Sinne zu
nehmen. W. B.]

=1026.= Die Zeile ist etwas unklar. Sentlemen wird kaum Druckfehler für
Sentleomen (= gentlewoman) sein; also möchte ich lesen: What, two vpon
one, Sentlemen! Mistris Miniuer, much good doo't you. -- Sir Adam ...

much good doo't you erinnert übrigens an ~Chapman's~ _Bussy d' Ambois_,
ed. Shepherd, p. 167. Als Pero von Montsurry gestochen ist, sagt
Monsieur zu ihr: _Then much good do't thee, Pero!_ vgl. _Satirom._ Z.
709.

=1029.= seere = cheer

=1031.= in hugger mugger: im Geheimen, bekannt aus _Hml._ IV. 5. 84.
~Dekker~ wendet es öfters an: _Deuils Answer_ (ed. Grosart) p. 108:
_they_ [cole carriers] _discharged their great bellies there, like
whores in hugger mugger_. _The Deuels Last Will_, p. 353: _what I giue
to them_ [the brokers] _shall be in Hugger-Mugger_.

=1033.= blew coate: Die blaue Jacke des Dieners.

=1037.= lightest: doppelsinnig!

=1044.= mark = 1¾.

=1060.= Mandilian: kurzer Rock ohne Ärmel meistens von Soldaten
getragen. ~Dekker~ spielt hier auf ~Jonsons~ Kriegsdienste in den
Niederlanden (1591/92) an.

=1063.= Thalamimums: gemeint sind ~Jonsons~ Epithalamien.

=1064.= besser: Pride-groome. On vrd, widdow. s. Z. 1071.

on vrd = one word; one und on lauteten gleich; cf. das Wortspiel in Sh.
_Gent._ 1, 2 u. 4 (~Hawkins~, _Origin of the Engl. Drama_, III, p. 135).

=1074ff.= Vgl. dazu _Poet._ V. I. p. 356.

    Cæs. _Shew it to Horace: ask him, if he know it._
    Lup. _Know it? his hand is at it, Cæsar._
    Cæs. _Then 'tis no libel._

=1085.= you shall not ride me: wahrscheinlich zweideutig; vgl. dazu
_Sh.-Lex._ ride 1. g. u. bes. 2b = to treat at will, to make a fool of:
_She rides me (like an ass)_ _Err._ II. 2. 202. und _I'll ride your
horse as well as I ride you_ _Tw._ III. 4. 319. ~Dekker~: _Lanthorne
and Candle-Light_, Temple Cl. p. 224: _report they had ridden him like
an Asse_.

=1091.= God bo'y und God boygh (1963) = God buy ye. Prof. ~Franz~
hat in d. _Engl. Stud._ 24, 344-46, über Good-bye gehandelt. Es wird
gewöhnlich mit God be with you erklärt, beide Formen haben aber keinen
ursächlichen Zusammenhang. _God buy you_ = _God redeem you_; und dieses
_God bye ye_ -- _God by ye_ -- _God bye_ gab das heutige _Good-bye_,
eine Schreibweise, in der man das ursprüngliche Verb nicht mehr
erkannte.

=1097.= indite irrtümlich für invite. s. auch _Sh.-Lex._

=1104.= Ansell = Angel. Wortspiele damit finden sich häufig; s.
_Fortunatus_, Z. 400 u. 1564. _The Valiant Welshman_, ed. Kreb, I. 3.
69 u. die Anmerkungen dazu.

=1106.= With hue and crie: der bekannte Ruf, um Entlaufene aufzuhalten.
Da er im _Satirom._ wiederholt vorkommt, so darf man an eine Anspielung
auf die verschiedenen «hue and crie» in _A Tale of a Tub_ denken.

and hier wie schon oft = an.

=1108.= Baldnes the Theame: cf. ZZ. 1454ff. u. 1814ff.

=1115.= Sollte Diues doppelsinnig sein, so würde es vielleicht eine
Anspielung auf _Dives, a dialogue moral_ enthalten. Erwähnt wird
derselbe in ~Greene's~ _Groatsworth of Wit_ und ~Nashe's~ Address in
~Greene's~ _Menaphon_. (~Fleay~ II. 292.)

=1116.= Frier Tucke = Sir Adam; Oyster-pye = Miniuer.

=1120.= Mirrour of Knighthood: Ein spanischer Roman, von ~Margaret
Tyler~ ins Englische übersetzt und 1598-1602 in neun Teilen
veröffentlicht (~Nares~). Cf. _Don Quichote_, Buch I. c. 6. vgl.
auch, ~Butler~, _Hudibras_ I. 1. 15., wo M. of K. als Titel für den
Helden verwendet wird. Für Tucca bedeuten die Worte vielleicht eine
Reminiszens an Lindabrides, die Heldin des Romans, welche in _Cynth.
Rev._ III. 2. p. 218f. erwähnt wird.

=1123.= Tiborne: Sollte dahinter etwa eine Anspielung darauf verborgen
sein, dass Jonson doch mit T gebrandmarkt wurde?

=1125.= lies: one, for that she...

  she has a vizard in a bagge: Vielleicht erinnert sich ~Dekker~ hier
  an _Poet._ V. 1., wo Caesar zweimal kurz nacheinander nach einer
  Maske verlangt: _Tibellus, let there be a case of vizards privately
  provided._ (p. 366) u. _...put a case of vizards o'er his head,
                That he may look bi-fronted, as he speaks_. (p. 367.)

  =1128.= Friskin: [1. a brisk lively action, also to dance Friskin]
                    2. a gay frisky person. ~Murray.~

=1131.= Lady ath Lake, die Beschützerin von Lancelot du Lac, und
Tristram sind wohlbekannte Namen aus der Arthur-Sage. Die Lady of the
Lake finden wir auch im _Belman of London_ (Temple Cl. p. 98), wo der
Wirtin der Cottage in the grove dieser Beiname gegeben wird.

=1133.= thou shalt weare her gloue in thy ... hatte: Den Handschuh
einer Dame am Helm oder auf dem Hut tragen zu dürfen, galt von jeher
als besondere Gunstbezeugung. Vgl. den ausführlichen Art. bei ~Nares~.

=1134.= brooch: auch Broschen wurden auf dem Hut getragen. Vgl. dazu
_Poet._ I. 1. p. 275: _Honour's a good brooch to wear in a man's hat at
all times_, od. _Malcontent_, III. 2. 269 u. d. _Sh.-Lex._ s. v.

and = an.

=1137.= besser: mee, da das folgende zur Seite gesprochen wird.

=1141.= Gold-finch: in _Cynth. Rev._ IV. 1 (p. 244.) nennt Phantaste
den Asotus, der so reiche Geschenke geben will, goldfinch. Vgl.
~Small~, p. 51, wo noch weitere Beispiele herangezogen sind.

=1143.= Belimperia: die Herzogstochter aus der _Spanish Tragedy_ von
~Kyd~.

=1144.= Derricke: Name des bekannten Henkers der damaligen Zeit. Er
wird von ~Dekker~ öfter erwähnt: _Gulls Hornbook_ p. 19., _Belman_ p.
133, u. 158. Bald Derricke ist Sir Adam Prickshaft, der kahl ist, und
auf den das von Sir Vaughan 1102 angeregte Gedicht über die «baldness»
gemünzt ist; s. Z. 1442ff.

=1145.= Susanna: Tucca denkt an die Hebräerin aus Babylon, an die sich
auch zwei «Elders» herangemacht haben, um sie zu verführen und die ihm
noch besonders bekannt war aus: _The Comedy of the most virtous and
godly Susanna_, «Eight persons may easily play it» von ~Thomas Garter~,
1578. Cf. ~Fleay~, _Chron._ I. 237. u. ~Collier~, _Ext. Reg. Stat.
Comp._ I. p. 188. -- ~Anders~, _Shakespeare's Books_ p. 166. erwähnt
auch noch eine 1562/3 in Stag. Reg. eingetragene Ballade: _The godly
and constante wyse_ (= wife) _Susanna_, die nicht mehr vorhanden ist,
wohl aber eine spätere Bearbeitung derselben aus der Zeit James I.
_There dwelt a man in Babylon_ ist die erste Zeile davon; cf. _Tw._ II.
3, 84.

=1151.= father time: Er nennt Sir Adam «father time», weil er
kahlköpfig wie die Zeit ist. Vgl. zu dieser Personification der Zeit
auch das _Sh.-Lex._ sub. time 1, Pers. ~Dekker~ selbst spricht von _the
bald-pate her father, Time, has no hair_ etc. _Hornbook_ p. 24.

=1153.= Mumble-crust: bekannte Figur aus _Ralph Roister Doister_ auch
in der _Pat. Grissill_, Z. 1909, und in _Shoem. Holiday_, p. 19 erwähnt.

=1156.= learned Dunce: Dunce od. Duns Scotus, berühmter Scholastiker,
1265-1308. Vgl. Dunciade.

=1170.= Grannam in Gutter-Lane: wohl irgend eine stadtbekannte Alte,
die in Gutter Lane wohnte, mit der Mineuer verglichen wird.

=1171.= lies: golde,

=1178.= mother Bunch: sie war eine bekannte Wirtin in London. ~Dekker~
tut ihrer bereits in _Shoem. Holiday_ p. 65 Erwähnung. Die folgenden
Hinweise verdanke ich Herrn Prof. ~Bang~: In der zeitgenössischen
Literatur wird besonders auf das Bier der M. B. angespielt; so in
_Pierce pen._, ~Nashe~, _Works_, ed. McKerrow, I p. 173. Genaueren
Bescheid erhalten wir in _The Weakest Goeth to the Wall_, ~Webster~,
_Works_ in Libr. of Old Authors, IV. p. 229. _O, for one pot of mother
Bunch's ale, my own mother's ale, to wash my throat ..._, so spricht
Barnaby Bunch, der p. 228 erzählt, dass er jetzt Schneider ist, früher
aber ein besseres Gewerbe trieb: _for I was an ale-draper, as Thames
and Tower-wharf can witness_. Was es sonst noch von dieser lustigen,
lautlachenden, im Essen und Trinken unersättlichen Wirtin von der
Thames- und Tower-Gegend zu sagen gibt, finden wir in _Shakespeare
Jest-Books_, ed. ~W. C. Hazlitt~, III. p. 7., und die lustigen
Geschichten, die sie gerne ihren Gästen erzählte, sind gesammelt in
_Pasquils Jests mixed with Mother Bunch's Merriments_, ibid, p. 13-84.
-- Ein Chapbook: _Mother Bunch's Closet_, wurde von ~G. L. Gomme~ für
die Villon Society (London 1885) herausgegeben, enthält aber nichts auf
unsere Mother Bunch bezügliches.

=1179.= Queene Gwyniuer: Gemahlin König Arthurs. Cf. Z. 1131. Vgl. dazu
viele Beispiele bei ~Koeppel~, _Ben Jonson's Wirkung_ p. 197ff. i. d.
Anm.

=1180.= Shittle-cockes = shuttle-cockes.

=1182.= West Indyes: Erwähnungen der beiden Indien finden sich sehr
häufig in der zeitgenössischen Literatur. s. _Sh.-Lex._

=1187.= moldie decay'd Charing-crosse: Old Charing crosse scheint
um 1600 schon stark verwittert gewesen zu sein, bis es dann 1647
niedergelegt wurde. In _The Gentle Craft_ (Palästra 18) II. 75 findet
sich folgende Anspielung: _Beside, Mistris Farmer is too old for me. --
Too old? quoth Harry. Why, man, she is not so old as Charing Crosse,
for her gate is not crooked nor her face withered._

=1190.= Long Meg a Westminster: Margaret of the Spread Eagle, but
more commonly knowne by the name of Long Meg of Westminster ... borne
in Lancashire, in height and proportion of body passing the ordinary
stature of woman (_Gentle Craft_, II. 6), war gleichfalls eine Dame,
welche die zeitgenössischen Literaten oft erwähnen. 1582 handelt ein
kleines Buch von _The Life and Pranks of L. M. of. W._ 1595, 14.
Febr. erwähnt ~Henslowe~ ein «New Play», das von den _Admiral's
men_ aufgeführt wurde: _Long Meg of Westminster_. Es wurde bis Ende
Januar 1597 sechzehnmal aufgeführt. Ein Monat nach ~Henslowe's~
Eintrag findet sich ein solcher in den Stat. Reg.: _a ballad on Meg's
'pranks'_. Exemplare von den beiden letzteren Erzeugnissen sind nicht
mehr vorhanden. Vgl. _Palästra_ 18, XXXVIIf. -- ~Dekker~ tut ihrer
wiederholt Erwähnung: _West-ward Hoe_, _Works_ II. 349 und _The Roaring
Girl_, _Works_, III. p. 211.

=1193.= deuill a Dow-gate: Das alte Londoner Stadttor stand da, wo
jetzt Cannon-Str. Station ist. _Devil of Dowgate and his Son_, Titel
einer alten Ballade. Cf. ~Fleay~, _Chron._ I. 218. Vielleicht auch der
Titel eines verlorenen Dramas auf das Fletcher zurückgriff.

=1194.= Bishops-gate: Altes Stadttor im N. W.; heute steht dort
Bishopsgate-Station.

=1196.= Annis a cleere: Name eines Brunnens in London. Vgl. ~Stowe~,
_Survey_, ed. ~Morley~ p. 47: Somewhat north from Holly Well is one
other well curved square with stone, and is called Dame the Clear [Mc
Kerrow].

=1203.= Sislie Bum-trincket: von ~Dekker~ bereits in _Shoem.-Hol._ p.
12 u. 20 erwähnt. Vgl. Richard Brome, in The Beggars' Song, in der
_Comedy of The Jovial Crew_. Was die Bedeutung anlangt, so ist Bum der
Körperteil, auf welchem man sitzt; trinckets, das in _Shoem. Hol._
wiederholt vorkommt, = Anhängsel, Zierat, also bum-trinket -- ein
Angehenke, das hinten befestigt wird; etwa «cul de Paris» schlägt Prof.
~Bang~ vor.

=1207.= Mother Red-cap: Eine stadtbekannte Persönlichkeit (Hebamme?),
die in Tottenham Court Road wohnte. ~Nares.~ Der Theaterkenner Tucca
wird aber an das unterm 22. Dez. 1597 in _Henslowe's Diary_ zu findende
Stück _Mother Red Cap_ von ~Drayton~ und ~Monday~, gedacht haben. S.
auch Fleay, I. 157.

=1208.= Maggot-a-pye -- mag pie. Maggot applied as a proper name to a
magpie (_NED_).

=1212.= Cap-a-maintenance: A cap of dignity carried before the
sovereigns of England at the coronation. (_Cent. Dict._)

naked sword hier von Tucca im obscönen Sinn gebraucht. Cf. ~Chapman~,
ed. Shepherd, p. 299: _she ran upon his naked weapon, the most finely
that ever lived_ (Prof. ~Bang~).

=1213.= Lettice-cap = a cap of Lettice (ein weisslich grauer Pelz),
apparently worn as a means of inducing sleep (_NED_).

=1216.= hot-cockles: ein ländliches Spiel, bei dem ein Spieler mit
verdeckten Augen niederknien musste, während die anderen ihn der Reihe
nach auf den Rücken klopften. Es war zu erraten, wer dies eben tat.

=1217.= Gammer Gurton -- needle = _Gammer Gurton's Needle_.

=1218.= like the Arches vnder London Bridge: Vgl. ~Jonson's~ _Staple of
News_, ed. Gifford-Cunningham, II. p. 296^b:

                      _He minds
    A courtesy no more than London bridge
    What arch was mended last._         u. Anm. dazu.

=1223.= shat wohl Druckfehler = shalt?

=1227.= Ladie ath Hospitall (of Bedlam) = Närrin = dem Joane-a-bedlam
i. Z. 1234.

=1239.= thou shalt be carted, drawne: zweideutig: a bawd was carted; to
hang, draw, and quarter a criminal (~Webster~). Vgl. _Belman_, Temple
Cl. p. 241: Hee saw the dores of notorious _Carted Bawdes_, (like
Hell-gates) stand night and day wide open, with a paire of Harlots in
Taffata gownes (like two painted posts) garnishing out those dores,
beeing better to the house then a _Double signe_; s. auch: _II. Honest
Whore_, V. 2.

=1240.= Iigga-Iogge = jiggy-joggy (_Shoem. Holiday_) = jig-a-jog.

=1245.= Maide-marian: Das Z. 1240 vorausgehende Hood bringt Tucca auf
Robin Hood's Geliebte. -- Maid Marian ist ja ursprünglich der Name
der in den May-games und dem Morris-dance auftretenden May-Queen; sie
erscheint erst in den späteren Fassungen der Robin-Hood-Geschichte als
Genossin dieses berühmten «Geächteten». _Henslowe's Diary_ erwähnt p.
118 unterm 15. Febr. 1598 _The I. Part of Robin Hood_ von ~Mônday~,
u. 20. Febr. 1598 _II. Part of the Downefall of earlle Huntyngton,
surnamed Roben Hoode_.

=1245/7.= Anthony u. Cleopatria = Antony and Cleopatra. Alexis secrets
= ? -- Da diese zwei Anspielungen dicht hinter einander stehen, besteht
wahrscheinlich ein gewisser Zusammenhang, und ich möchte auf _Ant. and
Cleop._ I. 2. 1ff. hinweisen, wo Alexas und der Wahrsager auftreten;
also könnte auf Alexas' secrets angespielt sein. Da ferner Alexas weder
in ~Daniel's~ _Cleopatra_ noch in ~Garnier-Pembroke's~ _Antonie_, wie
mir Prof. ~Bang~ mitteilt, vorkommt und er auch in ~Shakespeare's~
Plutarch nur in ganz untergeordneter Stellung erscheint, so müssen wir
annehmen, dass ~Dekker~ einen Ur-Antonius gekannt hat, in dem Alexas
schon ungefähr diejenige Rolle spielte, welche ihm später in Sh.'s
_Antony & Cleopatra_ zugefallen ist. Dieser Ur-Antonius mag von einem
unbekannten Dichter stammen, oder auch eine erste Bearbeitung von der
Hand ~Shakespeare's~ sein und die natürliche Fortsetzung zu dessen
_Julius Caesar_ darstellen (ca 1600).

=1247.= Rose = das Rose-Theatre; offenbar roch es dort wegen der Nähe
des beare-garden mitunter nicht sehr gut; vgl. dazu auch _Ordisch_, p.
212.

=1251.= Mary Ambree: Eine englische Heldin, die sich durch ihren Mut
bei der Belagerung von Gent 1584 auszeichnete. Sie wird häufig als das
Muster eines tapferen Weibes im Elisabeth. Drama erwähnt und auch die
Volksdichtung hat den Stoff in einer Ballade verherrlicht. S. _Percy's
Reliques_ II. 240.

=1255.= Die Gefangenen wurden zwei u. zwei in das Newgate-Gefängnis
geführt. Newgate fashion. s. H. 4. A. III. 3. 104.

=1284.= Sollte dem «young Gentleman» = Demetrius-~Dekker~ Bedeutung
beizumessen sein, dann wäre ~Dekker~ um 1602 noch jung gewesen; sein
Geburtsjahr könnten wir also gegen die Mitte der siebziger Jahre
ansetzen. ~Fleay~ setzt es bekanntlich auf 1567 fest, was zweifellos
verkehrt ist.

=1287.= Mum-pudding: mum ein starkes Bier, nach seinem ersten Brauer,
Christian Mum, so benannt. (_Cent. Dict._); also mum-pudding vielleicht
ein pudding der mit warmem Bier übergössen wurde. -- Hier haben wir es
aber offenbar mit einem Druckfehler u. folgl. mit Mother Mam-pudding
zu tun, die eine Kneipe in Towerstreet ward innehatte, und zwar in
einem Gebäude, das ehedem dem Prinzen von Wales als Wohnung diente, zu
Stowe's Zeiten aber schon in sehr ruinösem Zustand war (~Nares~).

=1298.= besser: attend

=1305.= Marchants scheint mir dasselbe wie marchpanes zu sein. Vgl.
zu letzterem _Shoem. Hol._ V. 1. p. 69. cf. ~Nares~ s. marchpane. Das
_NED_ deutet allerdings marchants = a kind of plum, obs. sub Merchant,
A. 5. p. 347. Vielleicht nur Druckfehler??

long white plummes: wenn das nicht an Stäbchen aneinandergereihte,
candierte Früchte waren, dann müssten wir das _white_ etwa als
«hochfein» auffassen, ähnlich dem white in «white boys» etc. cf. Nares
s. v.

=1308.= selles = selves.

=1327.= besser: Bride, ... day;

=1382/3.= besser: commission ... beauties,

=1459.= Ile of Man: Anspielung auf die gleichnamige Insel und ihre
selbständige Regierung.

=1479.= wast = waist

=1497.= enameld = enamoured.

=1507.= Cadwallader = Name des letzten britischen Königs; hier
vielleicht = Welshman; cf. H. 5. V. 1. 29, wo Cadwallader = Wales.

=1513.= Fye'st: Fyst, sagt ~Nares~, a corruption of foist, which was
a jocular term for a windy discharge of the most offensive kind; vgl.
_Ev. Man in_ IV. 5, p. 85: _you whoreson foist you! foist_ hatte auch
die Bedeutung = Taschendieb; cf. _The Roaring Girl_, ~Dekker~, vol.
III. p. 220, u. _Ev. Man in_, IV. 2, p. 76.

Hamlet reuenge: Das ist der Titel der alten Hamlet-Tragödie, _The
Reuenge of Hamlett_, deren Verfasser wahrscheinlich Kyd war. Vgl.
dazu _West-ward Hoe_, Works, II. 353: _...let these husbands play mad
Hamlet; and crie reuenge._

=1514/15.= I ha plaide Zulziman -- at Paris garden: Es scheint, dass
~Jonson~ ausser in der _Spanish Trag._ (vgl. Z. 633) auch in einem
zweiten Stücke auftrat; doch lässt sich nichts bestimmtes darüber
nachweisen. ~Ward~, I. 311³ deutet das Zulziman als = Solyman [and
Perseda]. Paris Garden war der berühmte Bärgarten auf der Bankside
in Southwark, neben dem Globe-Theater. Vgl. ~Ordish~, _Early London
Theatres_ pp. 245; 128, 242.

=1518.= Fulkes? vielleicht der Name eines Bären? -- Zu Demetrius
Journeyman vgl. Z. 405.

=1520.= Diese und die folgenden Zeilen spielen auf ~Jonson~ als
Schauspieler an.

=1521.= ~Gifford~, _Ben Jonson_, I. XXXI, meint, was ~Dekker~ mit dem
«thou couldst not set a good face vpon't» sagen wollte, sei nicht
schwer zu deuten, ~Jonson~ habe skorbutischen Habitus gehabt, und sein
Gesicht mag um diese Zeit darunter gelitten haben.

leather pilch: Dies war offenbar der gewöhnliche Rock der
Fuhrmannsleute. Cf. _A carman in a lether pilche, that had whipt out a
thousand pound out of his horse taile._ ~Nashe's~ _Pierce Pennilesse_,
in Cens. Lit. VII. 13 (~Nares~.) [ed. McKerrow, I. 158. 22-4].

=1522.= the play wagon in the high way. Dieses müsste demnach auf einer
Gastspielreise in die Provinz gewesen sein.

=1523.= mad Jeronimos part: bezieht sich auf das schon z. Z. 632
erwähnte Auftreten ~Jonson's~ i. II. Teil des Jeronimo. ~Ward's~
Einwurf (I. 309 u. Anm.) scheint mir von ~Small~ p. 123² schon im
voraus widerlegt zu sein.

=1524.= Stagerites: = Stager-ites, die von der Bühne: Bühnenvolk.

the Ile of Dogs: Anspielung auf ~Nashe's~ _Isle of Dogs_ (1597), ein
Theaterstück, von dessen Inhalt wir nur wissen, dass er den Verfasser
auf einige Zeit nach Fleet prison brachte. Vgl. dazu ~Ward~, I. 425;
und ferner _Return from Parnassus_ V. 3.... Writs are out for me to
apprehend me for my plays, and now I am bound for the Isle of Dogs, u.
die 4. Sc. (~Hazl.-Dodl.~ IX. p. 209ff).

=1525.= Guy: Guy of Warwick, bekannter Romanzen- und Romanheld; eine
Ballade über denselben Stoff aus ca 1592. [Dass das Drama _Guy of
Warwick_ ~Dekker's~ Erstlingswerk ist, wird Dr. Bolen in seiner Ausgabe
nachzuweisen versuchen. W. B.]

=1527.= saue thy seife and read: erinnert wieder an den _neckverse_.

=1529.= Farding = farthing.

Damboys: Bussy d'Ambois von ~Chapman~. Gegen ~Fleay's~ Annahme
(_Chron._ I. 59), dass das Stück erst 1604 aufgeführt worden sei, muss
mit Rücksicht auf unsere Stelle ~Chapman's~ Drama früher angesetzt
werden, vielleicht mit E. E. ~Stoll~, _Mod. Lang. Notes_ 20. 206, auf
1600. Vgl. auch _Materialien_ I, Anm. 1640.

=1532.= nittigrams: boshafte Umformung des Wortes Epigrams; nitty =
lausig u. s. w.

=1533.= ath = of the.

=1534.= arise deere Eccho rise: wahrscheinlich Anspielung auf die
Zitierung des Eccho in _Cynth. Rev._ I. 1. (M. Ser. II 177f.): _Arise,
and speak thy sorrows, Echo, rise, ..._

=1539.= Metheglin: Welsches Nationalgetränk, offenbar Meth-artig,
_Welsh_ medd = mead. (~Cent. Diet.~)--meddyg = healing, medicinal-:
A spiced or medicated variety of mead, originally peculiar to Wales.
~Elyot~, _Cast. Helthe_ 1541: Metheglyn, whiche is moste used in Wales,
by reason of hotte herbes boyled with hony, is hotter then meade
(_NED_). Vgl. dazu _Cynth. Rev._ I. 1. 182f., wo Amorphus verschiedenes
von M. faselt. Cf. auch _Material_. VI, p. 118 z. Z. 1521.

=1540.= whore a Babilon: an «elegant comedy», die von Edward VI.
verfasst sein soll und gegen die römische Kirche gerichtet war (~Ward~,
I. 136), dürfte aber ~Dekker~ kaum bekannt gewesen sein.

=1542.= Feede and be fat my faire Calipolis: ~Koeppel~ hat sich
in _Ben Jonson's Wirkung_ etc. p. 56 über dieses Zitat bereits
zusammenfassend geäussert. Es ist ein von Pistol aus _Feed, then, and
faint not, fair Calipolis_ und _Feed and be fat, that we may meet the
foe_ in ~Peele's~ _Battle of Alcazar_ II. 3, zusammengemachtes Zitat,
das sich auch in _What you will_ (ed. ~Halliwell~) V. 1 p. 284 findet;
ferner _To feed, and to be fat, my fine Cullapolis_ aus _The Royal
King and the Loyal Subject_ II. 3., ferner ~Fletcher~, _Loyal Subject:
Let'em feed so, and be fat._ III. 2. Ein weiterer Anklang an das Zitat
findet sich bei ~Dekker~ bereits im _Shoem. Hol._ V. 2. (p. 76) _Let's
feed and be fat with my lord's bounty._

=1544.= tableman: ~Nares~ sagt: tablemen: The men used in playing at
tables, or back-gammon. Dasselbe Wort findet sich in der Bedeutung
etwas modifiziert im _Hornbook_ und im _Bel-Man_, Temple-Cl. p. 8 u. 90.

=1545.= sincke point = cinque point (Back gammon), the fifth point from
the end on either side of the board. _NED_.

=1548.= Buffe Ierkin: vgl. dazu Anm. z. Z. 402. Ursprünglich nur eine
lederne Weste, die also dem Körper ziemlich nahe sass.

=1557.= ile Cumrade ye: ~Murray~ gibt nur dieses Beispiel an, mit
der Bemerkung «nonce use». Ich meine es will sagen: ich geb' dir
gleich einen Kameraden, wobei Vaughan wie zum Schlage ausholt. Dieser
eigentümliche Gebrauch des «cumrade» veranlasste mich Herrn Prof.
~Zimmer~ um seine Ansicht über eine ev. welsche Herkunft des Wortes
zu bitten. Letztere wurde verneint und der Ausdruck in der obigen
Weise gedeutet. Das gleichzeitig in Frage gestellte «chymrade» in
_Val. Welshman_, IV. 3. 34, fasst Prof. ~Zimmer~ als eine «abweichende
Aussprache des englischen comrade in welschem Munde» auf und deutet das
_diggon of Chymrade_ als «genügend Kameraden», «genügend Landsleute».

=1560.= winter-plummes: vgl. ~Chapman~, ed. Shepherd, I. p. 159:
Farewell, winter plum.

=1562.= Sir Eglamour: Held einer romantischen Dichtung; gedruckt 1508
in Edinburgh, eingetragen i. Stat. Reg. Jan. 15, 1582 (~Anders~.).
~Shakespeare~ lässt einen Eglamour in den _Two Gentlem. of Ver._
auftreten; und der Held von ~Ben Jonson's~ Hirtendrama _The Sad
Shepherd_ trägt gleichfalls den Namen Aeglamour.

=1563.= Skinker = drawer, tapster cf. _Mat._ III. _Jupiter and Juno_ p.
103 Z. 3749, u. _Gull's Hornb._ (T. Cl.) p. 12.

=1564.= Codpeece point: (Hosenlatz) cf. _Shoem. Hol._ V. 3. p. 76:
_my codpiece-point is ready to fly in pieces every time I think upon
Mistress Rose_.

=1568.= Hobby-horse: die bekannte und oft zitierte Gestalt aus dem
Morris dance; vgl. ~Nares~, ~Klöpper~, _Cent. Dict._ die sämtlich
grössere Artikel über _H. H._ bringen.

=1574.= conny-catch = prellen.

=1576.= Mum = Pst!

=1577.= kercher = kerchief. _Hornbook_ p. 34: a wrought handkercher.

=1580.= hee playes mum-budget with me: cf. ... _hither three dayes
hence and you shall heare more, but in the meane space looke you play
mumbudget and speake not a word of this matter to any creature_, in
_Gentle Craft_, II. 29, Palästra 18; dann _I come to her in white, and
cry 'mum'; she cries 'budget'; and by that we know one another_. _Wiv._
V. 2. 6 f. u. ö. b. ~Shakespeare~.

=1581.= tye vp your great and your little sword: Man trug damals häufig
zwei Schwerter, od. Schwert und Dolch.

=1585.= cossens Garman = cousins german.

=1586.= Master of the Kings Reuels: Offenbar hatte sich ~Jonson~ schon
damals (1601) um die Stelle eines M. of. R. oder Lord of Misrule (auch
Christmas prince genannt) bemüht, die er aber erst unter Jakob I. 1621
erhielt.

=1592.= Asinius ist etwas passiert, was sonst nur bei kleinen Kindern
vorkommt!

=1593.= scroule = scroll.

=1602.= he and I are not Paralels: cf. _Poet._ I. 1. p. 271. Tuc. _Are
we parallels, rascal? are we parallels?_

=1613.= ~Hawkins~ liest diese Stelle: ... watch man, ... rereward.
-- On proceede.... Auf den ersten Blick mag die Stelle etwas unklar
sein, was aber behoben wird, wenn wir folgende Unterscheidungszeichen
einführen: Did Apolloes Freeze gowne watchman.... (Boy, dost heare,
Turkie-cockes tayle, haue an eye behinde, least the enemie assault our
Rereward.) On proceede, Father Adam! Did that, _etc._ -- Mit diesem
zweiten «did» wird die Z. 1613 abgebrochene Frage wieder aufgenommen.

least = lest; on proceede! = fahr' doch weiter! (in Deiner Erzählung).

=1616.= rag-a-muffin = Lumpenkerl, schlechter Kerl. cf. _H._ IV. A. V.
3. 36., auch sonst bei ~Dekker~, _Hornbook_ p. 52, _Belman_ p. 83.

=1626.= mother Bee: das dürfte wohl auch der Name einer bekannten
Wirtin sein.

=1637.= Scanderbag: cf. _Shoem. Hol._ III. 1. p. 31. _... we have been
bargaining with Skellum_ (Schelm) _Skanderbag_.--_The true history of
George Scanderbage_ entered i. Stat. Reg. for E. Allde 3rd July 1601,
as lately played. (~Fleay~, II. 318.)--Georg Kastrioto 1403-1468, unter
dem Namen Skanderbeg als Befreier Albaniens vom türkischen Joch bekannt.

=1644.= my red flag is hung out: Reminiszenz an Tamberlaines rote
Fahne, die den Belagerten ankündigte, dass der erzürnte Eroberer
Blut fordere. Vgl. Sh. _Cor._ II. 1. 84: _set up the bloody flag
against all patience_, u. H. V. I. 2. 101. _unwind your bloody flag_.
~Marlowe~'sche Einflüsse, auf welche schon ~Koeppel~, _B. Jonson's
Wirkung_, p. 14 hinwies.

=1649.= Turke-a-ten-pence: Vgl. ~Dekker~, Works II. p. 339: _if all
the great Turks Concubins were but like thee, the ten-penny-infidell
should neuer neede keep so many geldings to ney ouer em (West-ward
Hoe)._--Über Herkunft und Bedeutung dieses Ausdruckes verdanke ich
folgendes Herrn Prof. ~Bang~: Der später oft gebrauchte Ausdruck
stammt wohl aus ~Marlowe's~ _Jew of Malta_, ed. ~Dyce~ in Old Dram. p.
169: _What gentry can be in a poor Turk of tenpence_; vgl. die dort
angeführten Stellen. Durch ten pence soll der geringe Wert angegeben
werden; vgl. ~Beaum. & Fletcher~, ed. London, 1811, vol. III, p.
156: _to be so ridden by a tit of ten-pence_, und ~Massinger~, ed.
Gifford-Cunningham, p. 262^b: _scorn'd by a tit of ten-pence_.

=1653.= my colde Cornelius:?

Respice funem: natürlich = respice finem! absichtlich von Tucca
entstellt.

=1654.= my little Cutlers Shoppe: Asinius ist so mager, dass man an ihm
die Rippen sieht.

=1659.= Huon: Reminiszenz an den Helden aus dem Karls-Sagenkreis.

=1661.= paper = Epigramme.

=1664.= foule-fisted Morter-treader: wiederum Anspielung auf Asinius'
Herrn, den ehemaligen bricklayer.

=1667=/=8.= Horace is valliant, & a man of the sword: ~Jonson~ tötete
in den Niederlanden angesichts der beiden Heere einen Feind und im
Duell einen Kollegen (cf. zu ersterem _Conversations with Drummond_
p. 29f.: _In his service in the Low Countries he had, in the face
of both the camps, killed an enemy_). ~Dekker~ wiederholt hier, was
_Poet._ IV. 4. (p. 341) steht:

  Pyrgus: _... take heed how you give this out; Horace is a man of the
          sword._
  Crisp. _'Tis true, ... they say he's valiant._

=1669ff.= Anspielung auf ~Jonson's~ _Ev. Man in His Humour_ und
_Ev. Man out of His Humour_. Mermaid enthält offenbar zugleich eine
Anspielung auf die bekannte Kneipe in Cornhill, wo ~Ben Jonson~ mit
~Shakespeare~ u. a. verkehrte. Vgl. auch _Poet._ III. 1. p. 311.
Tuc. loqu. _I would fain come with my cockatrice one day, and see a
play; ... but they say you ha' nothing but 'Humours', 'Revels', and
'Satires'._

In _Cynth Rev._ II. 1. p. 201. sagt ~Jonson~ in seiner eigenen
Characteristik: _For his valour, 'tis such that he dares as little to
offer an injury as receive one._ Vgl. ferner den tapferen Horace, wie
er in _Satirom._ ZZ. 1933/34 w. 1944-47 dargestellt wird.

=1675.= shoulder-clappers: hier wohl = falsche Freunde, die einem
schön ins Gesicht tun, aber einen hinterher in Satiren und Epigrammen
verspotten. Vgl. übrigens auch die Stelle im _Hornbook_, p. 51, wo dem
Gull empfohlen wird eine Wohnung an der Water-side zu nehmen, die neben
verschiedenen Vorteilen auch den bietet «to shun Shoulder-clapping»
(Verhaftung).

=1678.= Horastratus: Tucca ist boshaft genug Horace einen Mord
vorzuwerfen, durch den er sich, gleich Herostratos, ein Denkmal für
alle Zeiten setzen wollte.

=1680.= Mecænasses: Vgl. Anm. z. Z. 977. Vielleicht ist es nicht ganz
bedeutungslos auf eine Stelle in ~Chapman's~ _Blind Beggar_, ed.
~Shepherd~, vol. I. 16 hinzuweisen, wo die von ihrem Gatten Count
Hermes hintergangene Elimine sagt: _... you make a Count ass of me_.

=1686.= _Palinodicall_ rimester: mit Anspielung auf die schon Z. 366
erwähnte Palinode.

=1687.= _Solœcismes_: Vgl. dazu _Poet._ III. 1, wo Horace Verse des
Crispinus anhören muss und beiseite spricht: _This tyranny Is strange,
to take mine ears up by commission, ... and make them stalls To his
lewd solecisms, and worded trash_ (p. 298).

=1693ff.= Es ist wohl möglich, dass sich diese Zeilen, wie ~Penniman~,
_War_, p. 132 meint, auf sein Verhör vor dem Richter beziehen, wohin
ihn seine Ausfälle gegen das Recht und die Richter im _Poetaster_, Akt
I., gebracht haben. Vgl. auch «To Mr. Rich. Martin» i. d. Fol. des
_Poetaster_.

Quiddits: a contraction of quiddity ... Generally applied to the
subtilities of lawyers. ~Nares.~ Cf. _Haml._ V. 1. 107.

=1695.= to wip't = to wipe it.

=1697.= Machiauell: hier im Sinne von «ein schlauer Kopf», wie auch ö.
bei ~Shakespeare~. Machiavelli war dem elisabethanischen Drama durchaus
nicht fremd. Er scheint selbst dramatisch behandelt worden zu sein.
~Henslow~ (p. 22) trägt auf den 2. März 1591 ein anon. Play _Machiauel_
ein, das von L. Strange's Men gespielt wurde. ~Fleay~, II. 298.

=1700.= the man in the Moone: vgl. Anm. z. Z. 924.

=1701.= Salt-peter Jestes: scheint sich auf die Saltpeter-Scherze in _A
Tale of a Tub_ zu beziehen; vgl. _Works_ ed. L. 1816. vol. VI.

  p. 134. Sir Peter Tub was his father, a saltpetre-man ...
  p. 148. She's such a vessel of fæces: all dried earth,
          . . . . .  not a drop of salt,
          Or petre in her! all her nitre is gone.
  p. 149. . . . a man condemn'd
          To the salt-petre works.

=1702.= Maligo-tasters: maligo = Malaga, (Wein und Ort).

_1703._ Cinocephalus: Vgl. _Pat. Grissill_, Z. 2221: _I haue seene
vnder John Prester and Tamer Cams people, with heds like Dogs._ Die
Kenntniss dieser sog. Kynokephalen hatten die Zeitgenossen aus ~John
Maundeville's~ und anderer Reisebeschreibungen.

=1707.= there's no faith to be helde with Heritickes & Infidels:
~Drummond~ berichtet, dass ~Ben Jonson~ während seiner Gefangenschaft
(1598) von einem Priester zum römischen Glauben bekehrt wurde und zwölf
Jahre Katholik blieb (_Convers._ p. 30 u. 63.). Hierauf spielen obige
Worte an.

=1709.= _Alexander_ and _Lodwicke_, the Gemini: Titel eines von ~Martin
Slaughter~ (~Slater~) 1597 geschriebenen (?) Stückes. Cf. ~Ward~, II.
608². -- ~Henslow~ notiert unter d. 14. Jan. 1597 einen Alexander and
Ludovick; s. auch ~Fleay~ II. 305.

=1710.= sworne brothers: = fratres jurati, Busenfreund; vgl. die
Beispiele bei ~Schmidt~, _Sh.-Lex._, s. swear, sowie ~Nares~.
_Sworn brothers_ wurden auch Personen genannt, die sich durch Eid
verpflichteten, ihr Vermögen mit einander zu teilen.

=1710/12.= _Theseus_ und _Peirithous_ stiegen in die Unterwelt
(hell), um Persephone zu entführen, wurden aber beide in Fesseln
zurückgehalten, und Herkules konnte nur Theseus befreien. Vielleicht
bildete diese Episode den Inhalt einiger Scenen der _Two Parts of
Hercules_ des obengenannten ~Martin Slater~.

=1712.= Thine-assuredly: bekannte Briefschlussformel.

=1716.= Vgl. die schon z. Z. 409 cit. Stelle aus _Poet._ III. 1. (p.
311.)

=1717.= Lucian: Tucca spielt auf die Pillenszene im _Poetaster_ an,
die aus dem _Lexiphanes_ des ~Lukian~ entlehnt ist. Dort (§ 20 u. 21.)
verordnet ein Arzt einen Trank zu ähnlichem Zweck, wie im _Poetaster_
die Pillen ihn erfüllen.

=1719.= the _Parcell-Poets_: cf. _Poet._ III. 1. p. 310. Tuc ... _he_
(Marston) _is a gent'man, parcel-poet_....

_parcel_ gewöhnlich = _part_ findet sich häufig (auch bei
~Shakespeare~), allein und in Verbindungen wie parcel-bawd,
parcel-gilt, parcel-poet, parcel-physician (~Massinger~, _City Mad._
II. 2), parcel-statesman, parcel-priest (_Wit's Recreat._ Epig. 659),
parcel of man (_Cynth. Rev._ II. 1. p. 192) etc. Vgl. dazu ~Schmidt~,
_Sh.-Lex._ s. v: [words] not hyphened i. O. Edd. and probably intended
to have another sense (nearly = species); und hier, im _Satirom._ und
im _Poet._ ed. ~Mallory~ erscheint bei parcell-poet (III, 4, 174) und
Parcell-guiltie (V, 3, 433) der hyphen!--_parcel_ scheint mir in der
Mehrzahl der obigen Fälle nicht so sehr = part oder = half zu sein,
sondern vielmehr einer verächtlichen Verkleinerung zu entsprechen,
etwa = so ein Dichterling, Pfäfflein etc. Vgl. allerdings anderseits
_Hornbook_. p. 21. u. 40: _beate not your braines to understand their
parcell-Greeke, parcell-Latine gibrish_ und _get some fragments of
French, or smal parcels of Italian_. Vgl. unser: ein paar Brocken
Latein.

=1720.= the Court of Pernassus: vgl. A. z. Z. 292.

=1721.= in _Forma Pauperis_: = als armer Mann.

=1725.= like a sprig of Rosemary: ~Nares~ sagt, dass Rosemary auch
zum Garnieren von Fleischspeisen verwendet wurde, und verweist auf
~B. & Fl.~, _Kn. of. B. Pestl._ V. 1. und ~Parson's~ _Wedding_, O. Pl.
XI. 503. Tucca will also Bubo als schmückende Beigabe seines Gefolges
mitführen.

=1730.= vrde = word

=1731.= and = an

=1732.= Thomas Thomasius: Drucker und Lexikograph, geb. zu London 25.
Dez. 1553, erzogen in Eton. Universitätsdrucker in Cambridge, wo er
1588 starb; cf. _DNB_ LVI. p. 192, auch ~Watt~, _Biblioth. Britannica_,
vol. II. s. v.

=1734.= nere = never

=1738.= your fetches and your fegaries: fetches = List, Kniff; fegaries
= vagaries = Streiche, Schnaken. vgl. _Old Fortunatus_, Z. 980 und die
dazu angegebenen Stellen.

=1739.= leather-Jerkins: vgl. dazu Anm. 1548.

=1743.= winke-a-pipe: wincopipe, volkstümliche Form für wink-a-peepe,
~Bacon~, _Nat. Hist._ § 827. _Cent. Dict._

=1745.= Sampson: ~Dekker~ wird wohl an Sampson und Delila aus dem Buch
der Richter gedacht haben.

=1753.= Diese Zeile wird «zur Seite» gesprochen.

=1757.= [Trangdo; ich glaube, dass dieses mir nur aus dieser Stelle
bekannte Wort sich verhält zu dem unten belegten Wort trangdido wie
etwa dildo zu dildido (_Materialien_ VI, 1580).

Die Bedeutung von trangdido geht ziemlich deutlich hervor aus Forde,
_Lover's Melancholy_, IV, 2: I will firk his trangdido; _The Fancies,
Chaste and Noble_, IV, 1: nay, I will tickle their trangdidos. Wenn
man sich an Falstaff's I'll tickle your catastrophe und den Ausdruck
to tickle one's collefodium erinnert, den ich in den _Bausteinen_, I,
p. 70 besprochen habe, so wird es sehr wahrscheinlich, dass trangdido
= arse, buttocks, Hintern steht, eine Bedeutung die des Contexts
wegen auch in _Englishmen for my Money_, Hazl.-Dods. X, 537: With
trandido, dildido, and I know not what vorzüglich passen würde. Was die
Etymologie betrifft, so ist trangdo, wie dildo (cf. _NED_ s. v.), ein
Refrain und hat wohl daher die Bedeutung «Endstück» etc. angenommen. W.
B.].

=1760.= by the crosse a this sword & dagger: beim Kreuze des Schwertes
zu schwören, galt als besonders heiliger Schwur.

=1764.= smeeter = cimiter = simitar; cf. _Tale of a Tub_, IV. 3 p. 208:
_Basket, put thy smiter up, and hear_.

=1768.= those nine common wenches = neun Musen.

=1771.= button-cap: button = Knopf auf einer Mütze; cf. _Hml._ II, 2,
233.

=1775.= besser: I pray,

=1803.= besser: heare.

=1810.= richtiger: prooue

=1812.= has wie schon ö. = he has (h'has)

=1815.= lies: like

=1817.= baldlie = kahl, schmucklos u. = schlechtweg.

=1818.= lies: before

=1834.= blazing Starres: Kometen, als Boten von Kriegsjahren.

=1842.= ore = o'er.

=1851.= besser: thatch.

=1853.= _he has more haire then wit_: ein Sprichwort, das sich häufig
findet, so auch bei ~Sh.~ _Gent._ III. 1. 361. u. 367. _Err._ II. 2.
84.

=1855.= _Bush-naturall_: =Nares= bemerkt: From some vague notion, that
abundance of hair denoted a lack of brains, arose an odd proverb,
noticed by _Ray_, p. 180; thus: «Bush-natural, more hair than wit»;
vgl. _Hornbook_, p. 28: But let thine receive his full growth, that
thou maiest safely and wisely brag 'tis thine owne _Bush-Naturall_.
Vgl. zu diesen Zeilen überhaupt das III. Cap. des _Hornbooks_.

=1869.= whether = whither.

=1870.= Poeticall Furie: Ob Tucca hier an den Furor poeticus denkt, der
im _Return from Parnassus_ I. Sc. 6 ff. auftritt (vgl. dazu ~Small~, p.
133 Anm.), weiss ich nicht; wohl aber war er ihm aus ~Jonson's~ _Ev.
Man in_ IV, 1. p. 73 _Ev. Man out_, Ind. p. 121 und _Poet._ IV. 1. p.
328 bekannt. Im letzteren Fall spricht Tucca den Demetrius mit poetical
Fury an.

=1874.= mych = miche, to shrug or sneake in some corner; cf. _Sh.-Lex._
s. miching mallecho.

=1880.= vds bloud = 'sblood, God's blood.

=1885.= block-head: vgl. dazu das schon erwähnte 'you whoreson
blockhead' aus _Poet._ IV. 3. p. 336.

=1888/9.= Thalimum: cf. A. z. 1063. -- crosse-sticks: Verballhornung
von acrostics, mit Nebenbedeutung. Cf. Z. 356. Polinoddyes: erneute
Anspielung auf die Palinode, mit Nebenbedeutung: poll = Kopf u.
noddy = Narr. Nappy-grams: cf. A. z. 1532, u. nappy = berauschend,
einschläfernd.

=1891.= his harty commendations: der alte Briefanfang: After my hearty
commendation, etc., worüber mehr in _Goosecappe_.

=1892.= ~Hawkins~ weist diese Worte Tucca zu, ~Morley~ dem Horace. Ich
muss gestehen, dass diese Worte, wenn sie zu Vaughan und den übrigen
gesprochen werden, besser dem Tucca, der damit seine hämische Freude
ausdrückt, zustehen. Wäre es aber nicht auch möglich, dass Horace sie
«zur Seite» spricht, etwa: Es ist grossartig, jetzt kommt alles an den
Tag? Horace kann die Worte nur zu sich sprechen, sonst könnte Dicache
nicht mit, «That same Horace» weiter fahren.

=1894.= [his face] lookes for all the world, like a rotten russet
Apple, when tis bruiz'd: Auch ~Jonson's~ Gesicht diente wiederholt als
Zielscheibe des Spottes; cf. ZZ. 1899/1900, 2545 f. Das schon erwähnte
«dark, pale face» [_Apol. Dial._ p.382] steht im Widerspruch mit dem
im _Satirom._ geschilderten, meint ~Cunningham~ (II. 582), und auch
~Aubrey~ sagt: «he was of a clear and fair skin.» -- Andererseits
stimmt zu dem «pale face» eine Stelle aus einem Pamphlet ~Kempe's~ auf
~Ben Jonson~ nicht, auf die ~Bang~, _Engl. Stud._ 28. 224, hinweist:
... _let any man look on his face! if there be not so red a colour
that all the soap in the town will not wash white_ ... Vergleicht man
dazu das Bild von G. ~Honthorst~ (i. d. Mer. Ser.), so kann man auch
die «pimple» entdecken, und dass er vielleicht die eine und andere
Blatternnarbe im Gesicht hatte, auch ohne dass er die schwarzen
Blattern durchmachte, wäre nicht unmöglich; es dürfte also seine
Gesichtshaut nicht ganz so rein gewesen sein. Dass im _Satirom._ eine
Übertreibung vorliegt, darf als sicher angenommen werden.

=1896.= Sinamon water next my heart: Zimmtwasser wurde von Frauen zu
gewissen Zeiten gern genommen.

=1898.= Ludgate war eines der östl. Tore der Stadt und diente zugleich
als Gefängnis für City-Schuldner (vgl. ~Stow~, _A Survay of London_,
ed. ~Morley~, p. 68). -- Unser poore fellow vnder Ludgate muss ein
stadtbekannter Bettler gewesen sein, der den Passanten mit näselnder
Stimme sein «Bestow a penny, dear Sir» zurief.

=1907.= white = famos.

=1912.= thou Clipst the Kinges English: als ob er es gleich Goldmünzen
kippen oder beschneiden würde; gewöhnliche Redensart für schlechtes
Englisch sprechen.

=1921.= Adam Bell bezieht sich auf Sir Adam Prickshaft. _Adam Bell_
berühmter outlaw und Bogenschütze, der der Held einer Ballade wurde:
_Adam Bell, Clim of the Clough, and William of Claudesly_, ~Child~ III.
14. Sein Name, sagt ~Nares~, ist nahezu sprichwörtlich geworden.

=1929.= Pope Boniface = bonne face, natürlich ironisch.

=1931.= bee Stab'd: Tucca realisiert (scheinbar) einen Gedanken den
Ovid jun. im _Poet._ I. 1. (p. 278) ausspricht:

    _They would not then, with such distorted faces,
    And desperate censures, stab at Poësy._

Beachte ferner die Wiederholungen mit bee Stab'd, to murder me, rub
_etc_!

=1951.= Lazarus: wohl die bekannte Bibelgestalt. Mit Hinblick auf das
Dives i. Z. 1115 wäre vielleicht auch zu erwähnen, dass ~Fleay~, II.
292 von einem _Dives and Lazarus_, mentioned in Sir T. More, spricht.

=1956=. bag-pudding: pudding boiled in a bag. _Cent. Dict._

=1957.= Cicatrine: veraltete Form f. Socotrine; also Aloë Socotrina.

=1960.= rounciuall voice: = eine Stimme, wie sie im Tale von
Roncesvalles ertönte; rounceval auch einer, der eine solche mächtige
Stimme besitzt: ... _that great rounsefull should come in his company_.
_Gentle Craft_, II. 32.

to cry Lanthorne & Candle-light: der bekannte Ruf des Belman zu London.

        _Lanthorn and candle light here,
        Maids ha light there,
        Thus go the cries, ..._       ~Heyw.~ _Rape of Lucrece._
    No more calling of lanthorn and candle light.
                           ~Heyw.~ _Edward IV._ cit. n. ~Nares~.

Der 2. Teil von ~Dekker's~ _Belman_ führt auch den Titel _Lanthorne and
Candle-light_.

=1963.= God boygh: cf. Anm. z. Z. 1091. -- Die folgenden Worte enthalten
wiederum Anspielungen auf den Bricklayer ~Jonson~.

=1965/6.= railes in beiden Zeilen, ist doppelsinnig zu nehmen.
Vgl. hiezu Z. 2544. Zu rotten railes on Poules head vgl. ~Dekker~,
_Hornbook_, p. 37: _And when you are mounted there, take heede how
you looke downe into the yard; for the railes are as rotten as your
great-Grandfather._

=1971ff.= Bereits in _Cynth. Rev._ III. 2. p. 211 wollen Anaides und
Hedon den Crites «einwickeln». Vgl. Ana.: ... _I'll send for him to my
lodging, and have him blanketed when thou wilt, man._ -- Hed. _Ods so,
I would thou couldst. Look, here he comes._ Enter Crites. -- ~Dekker~
kommt selbst noch einmal in seinem _Hornbook_ p. 53 darauf zurück: s.
Anm. z. Z. 963.

=1973.= Venice glasses: Venetianer Gläser wurden in der
zeitgenössischen Literatur oft erwähnt; vgl. ~Nares~ s. v.

=1975.= when = vorwärts.

=1976.= mad Tamberlaine: Tamburlaine the Great von ~Marlowe~. Morter
vnder thy feet: wiederum der bricklayer.

=1980.= puppet-teacher: Dekker quittiert hier vielleicht die Worte
Tucca's im _Poet._ III. 1. (p. 315): _What's he, with the arms there,
that salutes us out of his cloak, like a motion, ha?_ -- Die Beilegung
des Namens p.-t. lässt den Schluss zu, dass ~Ben Jonson~ vielleicht im
Anfang seiner literarischen Tätigkeit motions = puppet-shows verfasste;
vgl. d. Puppet-show in _Bartholmew Fair_, V. 3. Vielleicht ist hier
auch auf den Schluss des I. Aktes in _Cynth. Rev._ hinzuweisen.
~Small~ hält das p.-t. für «merely a general term of abuse, somewhat
similar in use to poet-ape» (p. 124).

=1990ff.= Diese Zeilen enthalten neuerdings Anspielungen auf die
schon erwähnten Ausfälle ~Jonson's~ gegen den Richterstand und die
Rechtspflege, wie sie sich besonders im ersten Akt des _Poetasters_
und, falls _A Tale of a Tub_ ~Jonson's~ ersten Stücken unbedingt
zuzuzählen ist, vor allem in diesem Stücke finden. Vgl. aus _Poetaster_
p. 274:

  _... he that will now hit the mark, must shoot through the law; ...
  Why, the law makes a man happy, without respecting any other merit:
  a simple scholar, or none at all, may be a lawyer;_ und ferner als
  Erwiderung auf den _Satirom._ vgl. _Apol. Dial._ (p. 377): ... _why
  they say you taxed_
          _The law, and lawyers; captains, and the players,
          By their particular names._
      Author.                             _It is not so.
          I used no name._

=1995/7.= Diese Zeilen gehen zurück auf _Cynth. Rev._ II. 1.,
wo Mercury von Anaides (= ~Dekker~) sagt (p. 196): _... he has
two essential parts of the courtier, pride and ignorance; ...
'Tis Impudence itself, Anaides_. -- Arrogance und impudence werden
Horace-~Jonson~ übrigens schon im _Poetaster_ vorgeworfen: IV. 1.
p. 329. Dem. _... tickle him i'faith, for his arrogancy, and his
impudence, in commending his own things; ..._ u. V. 1. p. 365.
Virg.: _... our Horace now stands taxed Of impudence, self-love, and
arrogance_, etc. Vgl. auch das _Both impudent, and ignorant enough_ aus
_Cynth. Rev._ III. 2. p. 214; cf. Anm. z. Z. 423.

=1998.= puncke = punch, wohl unter Anspielung auf punck.

=2001ff.= enthalten wiederum Anspielungen auf _Ev. Man in._ u.
_Poetaster_.

thou cryest ptrooh: Vgl. ~Chapman~, ed. ~Pearson~, II. p. 394: _and cry
phtroh, ho, ptrough_ u. die Anm. 2170 in _Pedantius_ (_Mat._ VIII).

=2002.= Flat-caps: Unter Heinrich VIII. waren flache, runde Mützen sehr
modern; als sie aus der Mode kamen, wurden sie noch lange nachher von
Bürgern getragen, die darob verspottet wurden. In _Ev. Man out_ sagt
Kitely, der Kaufmann, [they] _mock me all over, from my flat cap, unto
my shining shoes_. (II. 1. p. 31.) [vgl. aus ~Dekker's~ _Wonderful
Year_ (~Grosart~, I, 116) _the sight of a flat-cap was more dreadfull
to a Lob then the discharging of a Caliuer_.]

Cuckolds, and banckrupts.... punckes & cockatrices beziehen sich auf
_Albius_ und _Chloe_ im _Poetaster_.

IV. 1, 327. Tuc.... _Come hither, cockatrice: here's one, will set thee
up, my sweet punk._

  p. 328. Alb: ... _they are my wife's verses;_ ...
          Tuc: _Show'hem, bankrupt,_ ...

IV. 3 p. 333 Ovid: _Take his wife, Mars, and make him cuckold quickly._

         Tuc: _Come, cockatrice._
  p. 334 Tuc: ... _Punk, kiss me, punk._

=2003.= Zu cockatrice vgl. noch besonders: _Ev. Man out_, I. 1. p. 136.
Sogliardo: ... _an he be a scholar, you know I cannot abide him; I had
as lief see a cockatrice, specially as Cockatrices go now_. -- _Ev.
Man out_, IV. 4. p. 223: Shift: ... _I am to go before the cockatrice
you saw this morning_. -- _Cynth. Rev._ IV. 1. p. 246. Gelaia: ...
_and withal calls me at his pleasure I know not how many cockatrices,
and things._ und folgende gelungene Interpretation des Wortes bei
~Marston~, _The Dutch Courtezan_, I. 2. p. 18. _Whore? fie, whore! you
may call her a courtezan, a cockatrice, or (as that worthy spirit of an
eternal happiness said) a suppository._

=2004.= two Poets: natürlich ~Marston~ und ~Dekker~.

=2006.= a company of horrible blacke Friars: Der _Poetaster_, worin das
Arraignement stattfand, wurde ja von den ~Children of Her Majesty's
Chapel~ im ~Black Friar Theater~ aufgeführt.

=2007.= besser: day.

=2010.= thou shouldst haue been hang'd, but for one etc.: ~Ben
Jonson~ scheint durch Vermittlung eines einflussreichen Schauspielers
der Todesstrafe entgangen zu sein. Dass dieser eine nun gerade
~Shakespeare~ sein musste, hat schon ~Penniman~ (p. 122^4) als sehr
fraglich hingestellt. Auch ~Small~ (p. 123) meint, es könne sich hier
um eine Anspielung auf einen Vorfall handeln, der aber keinesfalls
einwandfrei verbürgt ist. -- ~Dekker~ wirft ~Jonson~ mit diesen Worten
auch Undankbarkeit gegen die Schauspieler vor.

=2012.= besser: for this, Poet,

=2017.= lies: Because

I holde more worthy company: ~Dekker~ spielt hier auf eine ~Stelle~
des Schwures an, den er mit ~Marston~ Ende des V. Aktes im _Poetaster_
leisten musste (p. 371 f.):

Tib. loqu. ... _Crispinus and Demetrius ... you shall swear, that never
... you shall dare ... to detract.... Quintus Horatius Flaccus, or any
other eminent man ... for keeping himself in better acquaintance, or
enjoying better friends_. Schon früher (p. 367 f.) findet sich eine zum
selben Thema gemachte Äusserung:

Virg. _Demand what cause they had to malign Horace._ Dem. ... _no great
cause, ... but that he kept better company, for the most part, than I;
and that better men loved him, than love me_.

=2018ff.= Diese Zeilen lassen uns einen Blick in eine andere Seite von
~Dekker's~ Verhältnis zu ~Jonson~ tun.

=2033.= besser: soule put

=2035.= Wieder eine Anspielung auf das leidige «Gehängt werden».

=2036ff.= ~Dekker~ quittiert hier die verschiedenen Bemerkungen über
Demetrius' und Crispinus' heruntergekommene Garderobe, wie sie im
_Poet._ zu finden sind. Cf. Anm. z. 558, und ... _his_ [Demetrius']
_doublet's a little decayed_ (III. 1. p. 315); _'Tis a gentleman of
quality, this_ [Crispinus]; _though he be somewhat out of clothes_ (V.
1. p. 358) etc.

=2037.= seame-rent: scheinen auf die _seam-rent fellows_ (_Ev. Man
out_ II. 2. p. 169) und das _seam-rent suit_ (_Poet._ I. 1. p. 277)
zurückzugehen.

=2043.= Perpetuana: wie sie ~Jonson~ offenbar gewöhnlich trug. cf.
_Cynth. Rev._ III 2. p. 212; vielleicht auch: _What you will_, II.
1. (ed. ~Halliwell~ p. 235) _hee's in his old perpetuana sute_, sc.
Quadratus [= ~Jonson~?] -- perpetuana = glossy kind of stuff now called
everlasting, worn by serjeants, and other city officers (~Gifford~, II,
261.).

=2046.= vpon best-be-trust: also auf Pump! -- Das Folgende ist die
Vergeltung für Horace's Worte Crispinus gegenüber, _Poet._ III. 1, p.
297.

  Cris. ... _how many yards of velvet dost thou think they contain?_
  Hor. ... _faith, sir, your mercer's book
  Will tell you with more patience than I can:_ (Aside.)
  _For I man crost, and so's not that, I think._

Zu _to be great in some bodies books_, vgl. _Hornbook_, pag. 34: _to
bee great in no mans bookes_.

=2051.= Hiren: kann hier mit Rücksicht auf das folgende Pisse-kitchins
nichts anderes als = Irene sein, die durch Pistol's Worte damals
allbekannt gewordene Hiren aus _Peele's_ nicht erhaltenem Stück _The
Turkish Mahomet and Hiren the Fair Greek_ (1594?) Vgl. dazu auch
~Koeppel~, der in _Ben Jonson's Wirkung_, etc. p. 60 ausserdem
hinweist auf: _Eastward Hoe_, II. 1. _'Sfoot, lend me some money; hast
thou not Hiren here?_ und ~Middleton~, _Old Law_, IV. 1. _We have
Siren here._ Vgl. auch ein Beispiel aus dem _NED._ ~T. Adams~, _Spir.
Navigator_, Wks. 1630. 420: _There be Sirens in the sea of this world.
Sirens? Hirens, as they are now called. What a number of these Sirens,
Hirens, Cockatrices in plaine English, Harlots, swimme amongst us._
-- Vgl. auch ~Nares~: hyren = hiren: Sylvester uses it to signify a
seducing woman. -- Der von Prof. ~Bang~ in seiner Ausgabe: _The Queen_
etc. _Mat._ 13. in der Anm. z. Z. 1780 gegebenen Auslegung unserer
Stelle kann ich nicht unbedingt beipflichten. Wenn _hiren_ auch im
Wortspiel mit iron = Schwert, Eisen, «Blech», stehen mag und dadurch
seine Bedeutung scheinbar geändert hat, so glaube ich doch, dass hiren
für sich genommen nur = Irene, etc. aufzufassen ist und ohne Zweifel
auch an unserer Stelle (~Hawkins~ lässt hier nur hiren = «cant name for
a sword» gelten.).

=2055.= tis not your fooles Cap, which you couer'd your Poetasters in:
Vaughan zahlt heim, was Virgil im Urteil über die Poetaster sagt; V. 1.
p. 371:

    _Demetrius Fannius, thou shalt here put on
    That coat and cap_ [of a fool]; etc. ...

=2061ff.= enthalten eine Anspielung auf ~Ben Jonson's~ Bemühen,
Poet laureate zu werden. -- Beachte auch, dass Hedon (Crispinus) in
_Cynthias Revels_ II. 1. (p. 194 u. ö.) von Philautia «her Ambition»
genannt wird.

=2068.= lies: -excellent!

=2070.= Crumboll: ?, Theaterfigur? vgl. _If this be not a good Play_,
~Dekker~, Works III. 270: Doe: Grumball.

=2071.= skneakes-bill: wohl Druckfehler (?) für sneak(s) bill = a
sharp-nosed, lean, sneaking fellow (_Cent. Dict._).

=2098.= swound = swoon.

=2104.= I in heauen: Terril als glücklicher Bräutigam ist im
(siebenten) Himmel.

=2106.= damb'd in hell: als Eidbrüchiger.

=2147ff.= Beachte das Wortspiel mit poast (post). Vgl. _Val. Welshman_,
ed. ~Kreb~, II. 3. 25/26.

=2177.= besser: gift, od. gift.

=2197.= Thou Winter of a man: = Terril's Schwiegervater.

=2205.= Du bringst die Gesundheit mit Gift aus.

=2206.= this sweet spring = Cælestine.

=2228.= lies: box

=2298.= lies: reflection

=2307.= besser: buy

=2348.= motionles?: (?) hier wie sonst auch für (!).

=2367.= what are not kings? ein eingeschobener Satz.

=2376f.= Die Klammern sind am besten zu streichen.

=2411.= lies: same.

=2414ff.= ~Small~, p. 121., hat bereits auf die gewalttätige Wendung
der Handlung hier hingewiesen. Das Satiromastix-Spiel ist damit wieder
eingeleitet.

=2419.= he calles himselfe the whip of men: nämlich in _Ev. Man out_,
Ind. p. 118. Asper (= ~Jonson~): _I'll strip the ragged follies of
the time, Naked, as at their birth -- and with a whip of steel, Print
wounding lashes in their iron ribs._ Vgl. auch _Satirom._ Z. 506/7.

=2425.= Bei dieser Zeile hatte ~Dekker~ vielleicht die beiden ersten
Verse des Prologes zu _Ev. Man in_ im Auge:

    _Though need make many poets, and some such
    As art, and nature have not bettered much;_ Yet ...

=2426/31.= Vgl. zu diesen Zeilen _Poet._ V. 1. p. 350:

    Cæs. _You have your will of Caesar: use it, Romans.
         Virgil shall be your prætor; and ourself
         Will here sit by, spectator of your sports._

=2436.= Vgl. hiezu _Poet._ V. 1. p. 352, wo Caesar Virgil den Sitz
anweist mit den Worten:

    _Virtue, without presumption, place may take
    Above best kings, whom only she should make._

=2437.= Zitat?

=2439.= Besser: Demetrius.

=2440.= that selfe-creating Horace: = Horace im _Poetaster_ = ~Jonson~.

=2443.= Zitat?

=2446.= his Masesties most excellent dogs: = bellmen; vgl. das
Titelbild in ~Dekker's~ _Lanthorne and Candlelight_, reprod. in
_Morley's Engl. Plays_, 207; oder das Titelbild zu _Gull's Hornbook_ i.
d. Temple Classics.

=2452.= hue and crie: vgl. Anm. z. Z. 1106.

=2461.= New-found Land: Gegen Ende des 16. Jahrh. wurden englische
Kolonisationsversuche auf Newfound Land gemacht, nachdem die Insel 1583
von Sir Humphrey Gilbert im Namen der Königin in Besitz genommen war.

=2462.= North and East Indies: vgl. A. z. Z. 1182.

=2465.= Satyres: Satyr mit der Nebenbedeutung Satire.

=2473.= great _Sultane Soliman_: vgl. A. z. Z. 2051. ~Koeppel~ glaubt
(p. 41) damit könnte auch der grosse Türkenheld des 16. Jahrh. Soliman
II gemeint sein. -- Sultan Soliman wird öfters von ~Dekker~ erwähnt, so
wiederholt im _Fortunatus_ bes. Z. 742, u. _Shoem. Hol._ V. 4. p. 81.

=2475.= Vgl. zu dieser und den folgenden Zeilen die Stelle aus _Poet._
V. 1. p. 360:

_Cæs._ What's he, Horace?

_Hor._ I only know him for a motion, Cæsar.

_Iuc._ I am one of thy commanders, Cæsar; a man of service, and action:
my name is Pantilius Tucca: I have served i' thy wars against Mark
Antony, I.

_Cæs._ Do you know him, Cornelius?

_Gal._ He's one that hath had the mustering, or convoy of a company now
and then: I never noted him by any other employment.

_Cæs._ We will observe him better.

=2476.= Has = He has

=2480.= Tawsoone: dieses Wort findet sich wiederholt in _Pat.
Grissill_, Z. 1356, 2046, 2397, u. 2423, und wird erklärt: Tawsoon
(keltisch) = Schweig einen Ton (son), d. h. still! was hier seine
Bestätigung in dem folgenden 'holde thy tongue' findet (also = engl.
Mum.)

Mon Dieu: das in den älteren QQ stehende 'Mon du' findet sich
gleichfalls in der _Pat. Griss._ (609, 660, 1358, mon due 2056) und
wird mit «bei Gott» erklärt. -- Das 'Mon Dieu' der zweiten Gruppe von
_Satirom._ QQ sollte jedenfalls eine Verbesserung der vielleicht nicht
allgemein verständlichen Form 'mon du' sein; die Aussprache der beiden
Formen wird ja nahezu die gleiche gewesen sein.

=2485.= Mandilian -- Leaders: Mandilian, der gewöhnlich ärmellose
Soldaten-Überrock.

=2486.= Pantilius Tucca ist der volle Name des Capitäns, wie er im
_Poet._ erwähnt wird.

=2487.= -fy-fy-fy-: der Tucca des _Poet._ stottert, sobald er in
Aufregung kommt, was mit der Wiederholung des fy angedeutet werden
soll. vgl. _Poet._ IV. 3. p. 334: Tib: _Mars_ (i. e. Tucca) _is
enraged. ... and begins to stut for anger_, u. ~Nicholson's~
Bemerkung¹ p. 276.

=2489.= _whirligig_: vgl. your whirligigs i. _Shoem. Hol._ V. 5. p. 80.
Vielleicht denkt der theaterkundige Tucca auch an _Cupid's Whirligig_
von ~Sharpham~, das allerdings erst 1606 od. 1607 von den ~Children of
His Majesty's Revels~ aufgeführt wurde, da es aber auch eine Anspielung
auf den _Valiant Welshman_ enthalten soll (~Fleay~ II. 232), so könnte
es z. Z. der Abfassung des _Satirom._ schon bekannt gewesen sein. --
Auch ~Chapman~ spricht in seinem _All Fools_, p. 51 f. von _a wanton
whirligig_.

=2490.= _Tamor Cham_, der Tartarenfürst, wird bei ~Dekker~ öfter
erwähnt: _Shoem. Hol._ V. 5. p. 82., [hier und in _Sh. Ado._ II.
1. 277. wird besonders sein Bart erwähnt], _Old Fortunatus_ Z. 582
und _Pat. Grissill_ 2222 (Tamer Cams); vgl. auch ~Ben Jonson's~
_Discoveries_, p.748, und zum Ganzen ~W. Bang~, _Dekker-Stud._ i. d.
Engl. Stud. 28. p. 214. -- ~Fleay~, II. 298 u. 305, erwähnt einen
_Tamar Cham_, der am 28. Apr. 1592, als II. Teil, von ~L. Strange's
Men~ gespielt wurde. Ein I. Teil vom 6. Mai 1598 «was revived» 1602,
und Henslowe kaufte ihn von ~Alleyn~ am 2. Okt. 1602.

=2496.= Morter-Morphesis: natürlich wieder eine Entstellung, um an den
Maurer ~Jonson~ zu erinnern.

=2500.= bare = bear

=2503.= a Timonist: wie Timon von Athen will sich seine Muse von der
Welt zurückziehen.

=2504.= the general Leprozie: erinnert an ~Sh.~ _Timon_ IV. 1. 30: _and
their crop be general leprosy!_

=2508.= Bug-beare Satyre: satyre wieder doppelsinnig.

=2510.= ~Jonson~ schrieb langsam, jedes Jahr ein Stück; vgl. dazu die
Einleitung und d. _Apol. Dial._ p. 381, bereits i. Anm. z. Z. 641/2
zitiert. [_The Case is altered_ 1597; _Ev. Man in_ Ende 1598, _Ev. Man
out_ 1600, _Cynth. Rev._ 1601.]

=2511.= Reuelling = _Cynth. Rev._ u. Araigning = _Poetaster_ or His
Arraignment.

=2512.= Tyber the long-tail'd Prince of Rattes: Tyber = Tybert, Tybalt:
Name der Katze in der _History of Reynard the Fox_; bekannt aus _Rom._
II. 4, 18. III. 1. 78, 80. Da dieser Kater durchwegs als _prince of
cats_, _king of cats_, [auch bei ~Nashe~ (Huth Libr. III. 74.) Tibault
als «Prince of Cattes»] bezeichnet wird, so könnte Rattes vielleicht
Druckfehler für Cattes sein, wiewohl sich ersteres auch noch als
beabsichtigte Änderung des gewöhnlichen Epitheton vertreten liesse;
vgl. _Tybalt, you ratcatcher_ in Rom. III. 1. 78.

=2520.= cf. _Satirom._ Z. 12.

=2524.= Vgl. hiezu _Poet._ V. 1. p. 365. Virgil loqu.:

    _His sharpness,--that is most excusable;
    As being forced out of a suff'ring virtue,
    Oppressed with the license of the time._

=2526ff.= bilden die Antwort auf die Pillenszene im _Poetaster_, wobei
~Jonson~ alle jene Charaktereigenschaften vorgeworfen werden, die er in
der _Fountain of Self-Love_ ~Dekker~ und ~Marston~ vorhielt.

=2529.= _Selfe-loue_: vgl. dazu _Satirom._ Z. 2569/70.

=2536.= vgl. dazu _Poet._ III. 2. p. 320. Hor. _What? when the man that
first did satirize Durst pull the skin over the ears of vice, ... shall
I forbear?_

=2539.= flea = flay = to strip of the skin und = to undress
(_Sh.-Lex._); cf. _the gentleman is half flayed already_. ~Sh.~ _Wint._
IV. 4. 655.

=2542.= Ooh --: erinnert an die verschiedenen oohs! des Crispinus im
_Poetaster_.

=2543.= Callin-oes: vgl. ~Anders~, _Shakesp. Books_, p. 169: Calino
is the tune of 'A pleasant Song made by a Souldier' date 1588, repr.
_Ballad Soc. Roxb. Ballads_ VI. 284., und p. 268: calino costurance = a
girl young and fair am I. Vgl. ferner H. 5. IV. 4.4: calmie custure me!
und _New Shaksp. Soc. Trans._ 1887/92, I. 142.

=2545.= vgl. dazu _Satirom._ Z. 1971. ff. u. 2567. Es ist übrigens
keineswegs erwiesen, dass ~Jonson~ ein blatternarbiges Gesicht hatte.

=2548.= not Lawrefyed: Anspielung auf den Poeta laureatus; vgl. A. z.
Z. 2063ff.

so: sc. er setzt ihm die Nesselkrone auf.

Die QQ weisen die Zeilen 2543-2548 Tucca zu. Aus dem «by Sesu» und
den folgenden Tucca-Worten, in denen das «I» so stark betont ist, als
gleichsam «Jetzt komme _ich_ an die Reihe», scheint es mir richtiger
obige Zeilen Vaughan zuzuteilen.

=2550.= roddes in Pisse and Vineger: um sie geschmeidiger zu machen.
Herr Prof. ~Bang~ verwies mich auf folgende Parallelstellen: ~Heywood~,
_The Engl. Traveller_, ed. Merm. Ed. p. 229:

    _I have laid rods in piss for somebody._

Ferner: _The Trimming of Thomas Nashe_, 1597, ed. Hindley, in _The Old
Book Collector's Miscellany_, 1871, 1 p. 28: Thy wit; thy wit, _Tom_,
hath rods in piss for thee: 'twill wip thee _etc._

=2551/2.= _the Whipping a'th Satyre_ und the Whipping of the
Blinde-Beare, meint Prof. ~Bang~, beziehen sich wohl auf die Namen
zweier Balladen. ~Collier~, _Extr. Reg. Stat. Comp._ II, 25, 30 erwähnt
eine Ballade «_The Whipping of the Cat_».

Jugler: ~Jonson~, der sich im _Poetaster_ den Namen des römischen
Dichters Horaz beilegte.

=2557.= Beachte die folgende Characterzeichnung!

King _Cambizes_: _The Life of Cambises, King of Persia_, Tragödie von
_Thomas Preston_, i. Stat. Reg. 1569/70 eingetragen (~Ward~, I. 205).
Von ~Dekker~ auch i. _Hornbook_ p. 48 erwähnt.

=2559.= enthält eine erneute Anspielung auf ~Jonson's~ spärlichen
Bartwuchs; cf. A. z. Z. 564.

=2560.= Leuiathan: ein im Buch Hiob, c. 41, erwähntes Tier, (Krokodil?)

=2561.= perboylde = parboiled.

=2563.= skrue = screw.

=2563f.= Tucca erinnert sich offenbar an folgende Stelle aus _Poet._
III. 1. p. 303:

    Cris. ... _man hath nothing given him in this life without much
          labour_.
    Hor. [Aside.] _And impudence._ --

=2565.= Wie das silver badge (cognizance), welches die Diener auf
ihren Livreen trugen, an den Wappen erkennen liess, welchem Herren sie
dienten, so sollten die Taffet-Ärmel ~Jonson~ schon äusserlich als
«Gentleman» erscheinen lassen.

=2567.= Oylet-holes = eyelet-holes.

=2571.= Zu dem hohlwangigen Gerippe passt das Titelbild in den vor
kurzem erschienen _Conversations of B. J. with W. Drumond_, ed. ~Ph.
Sidney~, Lo. 1906 besser als das Bild der Mer.-Ser. heere's the Copy:
damit zeigt er die mitgebrachten Bilder.

=2578.= Diese Zeile sowie 2587 werden in den QQ _Crispinus_ zugeteilt,
was aber ein offenbarer Druckfehler ist.

=2581.= poesies for rings, hand-kerchers, kniues: Ringe, Edelsteine,
Taschentücher, Messer mit kleinen Gedichten waren damals modern; vgl.
_Cynth. Rev._ II. 1. p. 195: Hedon: _I have poesies for rings_, u.
Palinode p. 305; ~Dekker~, _Honest Whore_: V. 1. [Works, vol. II.
73; Merm. Ser. p. 170.] ist ein Gedicht angegeben das sich auf einem
«cheese-trencher» befindet; _North-ward-Hoe_, Works III. p. 38: _Ile
haue you make 12. poesies for a dozen of cheese trenchers_; ~Chapman~,
_Day's Mirth_, p. 22. Eröffnungsmonolog: Achat(gehänge) mit Gedichten;
in ~Middleton~, _No Whit_, ist von 12 trenchers die Rede, von denen
jedes einen Monatsnamen trägt etc.

=2589.= dissarg'd = discharged.

=2590.= Tprooth: cf. A. z. Z. 2001.

=2591ff.= Die folgenden Vorgänge sind die Antwort auf die Schlussszene
im _Poet._ und die Palinode in _Cynth. Rev._

=2600.= to hang yourselfe und das 2603 folgende gallowes spielen
wiederum auf die Duellaffaire an.

=2605.= ~Jonson~ scheint manchen Scherz, den er bei den
Festvorstellungen der Herren von Temple's Inn aufgegriffen, für sich
verwendet zu haben.

=2606.= [Tango; ich kann dieses Wort, ohne es ganz erklären zu
können, nur mit tango-mongoes in einer fast zweifellos auf ~Dekker~
zurückzuführenden Stelle in _Englishmen for my Money_, ~Hazl.-Dods.~
X, p. 521 in Verbindung bringen: These whoreson cannibals, these
Philistines, These tango-mongoes shall not rule o're me = all diese
verdammten Ausländer, Fremden u. s. w. (vergl. kurz vorher: strangers).
Der Ausdruck kann also im letzten Grunde nur ein Völkername oder
dergl. sein. Wenn man bedenkt, wie sehr ~Dekker~ es liebt, mit
geographisch-historischen Begriffen um sich zu werfen, so wird diese
Annahme fast zur Gewissheit. Seine Quelle wäre, wie für das epimoi
der _Patient Grissil_ (vgl. meine Bem. im _Archiv_, 107, III.) wohl
~Hakluyt~, den ich hier nicht einsehen kann. W. B.]

=2612.= venter = venture

=2613.= to exchange complements: Dieses «Komplimentenschneiden»,
welches neben dem vielen anderen Erwähnten eine wesentliche
Gewohnheit ~Jonson's~ gewesen zu sein scheint, benützt ~Small~ mit
als Hauptargument, um Brabant senior = ~Jonson~ und Lampatho Doria =
~Jonson~ nachzuweisen (p. 99. u. 112.)

=2614.= Lordes roomes: Der Preis eines Platzes betrug gewöhnlich
12 d. Vgl. _Hornbook_, p. 48, wo dem Gull nähere Aufschlüsse über
Theaterplätze erteilt werden.

=2616.= ist wörtlich und in Bez. auf ~Jonson's~ _Humours_ und die
_Poetaster_ (Pillenszene) zu nehmen.

=2621.= _Whitson-Ale_: Pfingstbier, dessen Ausschank mit besonderer
Festlichkeit vor sich ging. S. d. Art. bei ~Nares~ u. i. ~Klöpper~ sub
Ale.

=2625.= Holofernes: der aus dem Buch Judith bekannte Feldherr
Nebukadnezars; vielleicht auch eine Anspielung auf ein altes Spiel
_Holophernes_, das Mitte der 50er Jahre vor Elisabeth gespielt wurde
(~Ward~, I. 153). -- _The Overthrow of Proud Holofernes_ ist auch der
Titel einer alten Ballade; cf. _Palästra_ 18. II. 29.

=2632.= Doctor Doddipol: _The Wisdom of Doctor Dodipoll_, ein 1600
veröffentlichtes Theaterstück, auf das ~Stokes~ schon 1596 anspielt
(~Ward~, II. 89). ~Dekker~ erwähnt ihn auch im _Fortunatus_ Z. 2245
(cf. Anm. dazu) und in _Lanthorne and Candle-Light_ p. 218. doddipol i.
allg. eine einfältige, dumme Person.

=2633.= ~Penniman~ p. 127 hat bereits darauf hingewiesen, dass die
folgenden Zeilen wahrscheinlich eine Anspielung auf das Motto zu
_Cynth. Rev._ enthalten, welches Stück offenbar bei Hofe nicht gefiel.

    Quod non dant proceres, dabit histrio --
    Haud tamen invideas vati, quem pulpita pascunt.

=2634.= crye Mew: vgl. dazu: _Ev. Man out_, Ind. Asper: _a gallant ...
Cries mew, and nods_, etc. (p. 121.).

=2638.= amongst your betters: vgl. dazu Z. 2017.

=2642.= Carlo Buffon: ~Penniman~ identifiziert (p. 126) diesen C.
B. mit dem C. B. in _Ev. Man out_ = ~Marston~. ~Small~ scheint das
Richtige getroffen zu haben, wenn er sagt, C. B. = ~Marston~ ist
keineswegs erwiesen, bisher wurde keine Figur aus _Ev. Man out_ in
den _Satirom._ gezogen, und C. B. wird neben Crispinus und Demetrius
besonders erwähnt. C. B. ist vielleicht = ~Charles Chester~, und
~J. Aubrey~, _Lives_ 1813, II. 154, hat wahrscheinlich recht, wenn
er sagt, dass dieser ~Jonson's~ Modell für seinen Carlo Buffone war
(_Stage-Quarrel_, 36.). ~Mallory~, _Poetaster_, p. LII. schliesst sich
dieser Beweisführung an.

=2649.= Vgl. hiezu Anm. z. Z. 982.

=2650.= _Learnings true_ = Learning is true, Mæcenas,...

=2657.= Hearbe-a-grace: herb-grace = [1. Old name for the herb Rue] 2.
in general sense: a herb of virtue, or valuable properties. _NED_. Vgl.
auch die im _Sh.-Lex._ angegebenen Stellen und ~Nares~ sub Rue.

=2658.= Ist a match or no match: erinnert stark an ~Sam. Rowley's~
_A Match or no Match_. Ich wage keine weiteren Schlüsse daran zu
knüpfen. Erwähnt sei aber doch, dass ~Dekker~ mit ~Rowley~ vielleicht
zusammenarbeitete.

=2659.= Lady Furniuall: Sie wird in _Sir Gyles Goosecappe_, ed.
~Bang~, Z. 1204 erwähnt und als eine dem Trunke ergebene Dame
hingestellt.

=2662.= play out a rubbers: das entscheidende Spiel oder den
entscheidenden Wurf tun.

=2666.= boule = bowl in your Alley, vielleicht mit obsc.
Nebenbedeutung. -- Iddow = widdow.

=2684.= an assembly of Friers = die Black Friars, wo _Poet._ aufgeführt
wurde.

Hereticall wird Horace-~Jonson~ genannt wegen seines
Konfessionswechsels.

=2687.= the Deuill & his Angels: Die mit Satan gefallenen Engel. Folg.
Hinweis verdanke ich Herrn Prof. ~Bang~: Vgl. ~Dekker's~ _A Knight's
Conjuring_, ed. Percy Soc. p. 48: _hee can put himselfe vpon none but
the Diuel and his angels, and they (to make quick worke) giue him his
pasport_.

=2690.= Ile dance Friskin: cf. Anm. z. Z. 1128.

=2691.= for your two pence: two pence war der gewöhnliche Preis für
einen Gallerieplatz: _Pay thy two-pence to a Player, in his gallerie
maist thou sitte by a Harlot_. _Lanthorne and Candle-Light_, p. 198.

Diesen niedrigen Preis benützt der Tucca des _Poetaster_, um den
Schauspielern das Liebäugeln mit dem penny-Publikum vorzuhalten, zu
Grobheiten wie: _you two penny tear-mouth, my good twopenny rascal, my
honest pennybiter_ (III. 1. p. 309, 311, 316).

_2695._ Are you aduiz'd etc.: Diese Worte, bemerkt ~Ward~, II. 460,
spielen auf ~Jonsons~ Neigung an, sich widerspenstig der öffentlichen
Stimme entgegenzustellen.

INDEX.

Enthält nur Anspielungen auf die zeitgenössische Literatur, seltnere Worte und Redewendungen
und Realia.

Adam Bell 1921

Alexander and Lodwicke 1709

Alexis secrets 1246

Amadis de Gaule 673

Ambree, Mary 1251

Angelica 648

Angels 376, 1104

Annis a cleere 1196

Anthony, Cleopatria 1245/6

to lead Apes in hell 117, 840

As in presenti 460

-- asses 977, 1680

bag-pudding 1956

ban-dog 603, 1524

Bankes his horse 396, 583

mother Bee 1625

Belimperia 1143

blacke Fryers 2006, 2684

blankets (tossing) 1971

blew coate 1033

block head 1885

block of wit 388

brooch in the hat 1134

buffe Jerkin 402, 1548

Bug-beare 2508

Bum-trincket, Sislie 1203

mother Bunch 1178

Bun-hill 20

Burgonian wit 15

Bush-naturall 1855

Cadwallader 1507

Calipolis 1542

Callin-oes 2543

Cambyses 2557

Cap-a-maintenance 1212

Carlo Buffon 2642

Cat-a-mountaine 29

chalk for cheese 807

Charing-crosse 1187

Cicatrine tongue 1957

Cinocephalus 1703

thou Clipst the Kinges English 1912

Coale 607, 624

cob-web-lawne 415

cockatrices 2003

Cockatrices egge 642

Codpeece point 1564

Comedy of Errors 59

Conniue 957

copper-lace 409

colde Cornelius 1653

Crispin-asse 977

Crop, Justice 182

Crumboll 2070

to crow (Wortspiel) 724

Cumrade, vb. 1557

dagger Pye 581

Damboys 1529

Damons and Pithyasse 609

Derricke 1144

Deuill & his Angels 2687

deuill a Dowgate 1193

Diogenes' Tub 565

Diues 1115

Doctor Doddipol 2632

dogs, [his Majesties --] 2446

Dor 414

Dunce 1156

dunkirkes gut 578

Sir Eglamour 1562

Endimions 924

fall in before the Ladyes 772

fan 700, 1894

feather (am Hut) 963

feed and be fat etc. 368, 1542

fegaries, fetches 1738

fire and brimstone 576

first man, your -- 1006

Flat-caps 2002

flea--flay 2539

Forma Pauperis 1721

Friskin 1128, 2690

Fulkes 1518

Lady Furniuall 2659

Fye'st 1513

Gammer Gurton 1217

glove (am Hut) 1133

God bo'y, God boygh 1091, 1963

Gods Angels 332

Gold-finch 1141

golles 666

Gorboduck 616

Grannam in Gutter Lane 1170

Gwyniuer 1179

Guy 1525

Haire (Lob des H.) 1461

he has more haire then wit 1853

a Hall! 765

Hamlet reuenge 1513

Capten Hannam 33

harty commendations 1891

Hearbe-a-grace 2657

Helicon 300

heyre apparant of Helicon 619

Hiren 2051

Hobby-horse 1568

Holofernes 2625

Horastratus 1678

Horatio (Sp. Trag.) 634, [1523]

horses walking a'th top of Paules 396

hot-cockles 1216

hue and crie 1106, 2452

hugger-mugger 1031

a hundred merie tales 800

Hunkes 596

Huon 1659

Ile of Dogs 1524

Ile of Man 1459

Indies 1182, 2462

indite 1097

jerkins 1739

goe by Jeronimo! 650, [1522]

Jigga-Jogge 1240

kercher 1577

Knights ath Poste 559

Lady ath Lake 1131

Lanthorne & Candle-Light 1960

law, Our kingdomes golden chaine 511

Lazarus 1951

leaf (tobacco) 309

Lettice-cap 1213

Leviathan 2560

London Bridge (Arches) 1218

Lords rooms 2614

loue has two tailes 741

Lucian 1717

Ludgate, the poore fellow under 1898

lyme and hayre-rascall 556

Machiauell 1697

Maggot-a-pye 1208

Maide-marian 1245

Maligo-tasters 1702

mother Mam (Mum)-pudding 1287

Mandilian 1060, 2485

Mandrake 671

Man in the Moone 1700

Marchants 1304

mark 1044

a match or no match 2658

Meg of Westminster 1190

Mephostophiles 574

Metheglin 1539

mew, to cry-- 29, 360, 2634

Miniuer cappe 824

Mirrour of Knighthood 1120

Mon du 2480

Moor (Battle of Alcazar) 980

much good do it (you) 709, 1026

Mum 1576

mum-budget 1580

Mumble-crust 1153

Musco the gull 360

Muske-cod 963

Muses = wenches 554

mutton = whore 743

mych (= miche) 1874

naked sword (obsc.) 1212

Nauci 51

neck-verse 384

New-found Land 2461

Newgate 1255

Nicodemus 635

Ningle 285

Parcell-Poets 1719

Parris garden 1514, 1526

Pernassus 292

Perpetuana 2043

pew-fellow 148

pilch 1522

plump-lip 87

poesies for rings etc. 2581

Poet-apes 982

Poeticall Furie 1870

Pope Boniface 1929

Porrex 670

Poast (Wortspiel) 2147

Poules Church-yard 45

ptrooh 2001

pudding 449

puppet-teacher 1980

Pux 278

Quiddits 1693

rag-a-muffin 1616

Rebatoes 127, 747f.

Mother Red-cap 1207, 2590

red flag--hung out 1644

Kings Reuels 1586

Temples Reuels 2605

ride 1085

Robin Hood 1240

roddes in Pisse and Vineger 2550

Rosamond 988

Roscius 634

Rose (theatre) 1247

Rosemary, sprig of 1725

rotten railes (St. Paul's) 1966

rounciuall voice 1960

Rug 558

sable ground 101

Salt-peter jestes 1701

Sampson 1745

Sarsens-head at Newgate 577

Scanderbag 1637

shaking the sheetes 825

Shallow, Justice 974

shoulder-clappers 1675

siluer voice (Muiscke) 761

sincke (cinque) point 1545

Skeldring 672

Skinker 1563

smeeter 1764

Soliman 2473

Spur-royall 666

Stagerites 1524

Stile a the big Turkes 590

Summa totalis 655

Susanna 1145

swords, two 1581

sworne brothers 1710

table-man 1544

take in snuffe 454

Tamburlaine 1976

Tamor Cham 2490

Tango 2606

Tawsonne 2480

teston, tester 670

Theseus u. Perithous 1712

Thomas Thomasius 1732

Tiborne 1123

father time 1151

Timonist 2503

Tprooth 2590

Trangdo 1757

Tristram 1131

Tucke, Frier 1116

Turke-a-ten-pence 1649

two-pence (gallery) 2691

Tyber(t) 2512

villiacoes 154

Virginall Jackes 135

wafer-face 621

Whipping a'th Satyre 2551

Whipping of the blinde Bear 2252

whirligig 2489

white plummes 1305

Whitson-Ale 2621

whore a Babilon 1540

winke-a-pipes rascall 1743

winter-plummes 1560

Zulziman-Soliman 1515

End of the Project Gutenberg EBook of Satiro-Mastix, by Thomas Dekker

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