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members of his majesty's players. Field's first drama was A Woman is a Weathercock, 4to 1612. He collaborated with Massinger on the Fatal Dowry, and these two, with Robert Daborne, once wrote a letter to Henslowe asking a loan to free them from prison (Malone's Shakespeare, by Boswell, 3. 337). Field also collaborated with John Fletcher (Fleay, Chr. 1. 171 ff.). In Bartholomew Fair (1614) 5. 3, Jonson compliments Field by comparing him as an actor with Burbage. Chapman has some lines 'To his loved Son, Nat. Field, and his Weathercock Woman.' Field died in 1633.
Sal. Pavy. Salathiel (or Salmon) Pavey died at 13, and Jonson wrote for him the touching epitaph printed by Gifford as 120 of the Epigrams. “The subject of this beautiful epitaph acted in Cynthia's Revels, and in the Poetaster, 1600 and 1601, in which year he probably died. The poet speaks of him with interest and affection, and it cannot be doubted that he was a boy of extraordinary talents.' (G.)
Tho. Day. Concerning this actor I have found no information.
Ioh. Vnderwood. The following is drawn from Collier, Memoirs of Actors 224-232.—Underwood became a member of the king's players, Collier thinks as early as 1610. In 1611 he acted in Catiline. In his History of the Stage (3. 433) Collier says that Underwood became a sharer in the Globe, Blackfriars, and Curtain theatres. He died about October 1624, aged about 40. Collier prints his will, which left his shares in the theatres to his children.
In a note on Crites (at his entrance, 1. 1.) in Cynthia's Revels, Gifford says: 'It appears that the boy who performed this laborious part was John Underwood.'
Will. Ostler. In his Memoir of Alleyn, Collier gives a list of the King's Men dated April 1604, containing the name Hostler, which he believes = Ostler, supposing the boy to have been drafted to play women's parts. In 1610 Ostler was acting in the Alchemist, and in 1611 in Catiline. Gifford (GC. 2. 464) assumes that he played the part of Julia in Poetaster. Collier (Memoirs of Actors 202-5) finds reason to conjecture that Ostler had ended his career in 1623. In the Scourge of Folly (ed. Grosart, 2. 31), John Davies of Hereford addresses Epigram 205 ‘To the Roscius of these times Mr. W. Ostler.' Davies calls Ostler ‘sole king of actors,' and ends :
But if thou plaist thy dying part as well
Tho. Marton. No information is forthcoming concerning this actor.
Master of Revells. Edmund Tilney was appointed Master of the Revels July 24, 1579, and retired in 1608 owing to age and infirmity. He was succeeded by his deputy, Sir George Buc.
The reversion of the Mastership of the Revels was granted to Ben Jonson in 1621, but he did not live to hold the office. The following passage in Satiromastix (p. 231) has been interpreted by Malone (Shakespeare, i part 1, 400 note) to prove that Jonson was seeking the reversion of the office when Dekker wrote his satire: 'Sir Vaughan
Master Horace, let your wittes inhabite in your right places; if I fall sansomely vpon the Widdow, I haue some cossens Garman at Court, shall beget you the reuersion of the Master of the King's Reuels, or else be his Lord of Mis-rule nowe at Christmas.'
This Glossary is designed to include all words found in Poetaster which are obsolete, archaic, dialectal, or rare; current words used in obsolete, archaic, or exceptional senses; and, so far as practicable, archaic or peculiar phrases. Current words in current senses have been occasionally included, in order to facilitate the interpretation of obscure or otherwise difficult passages. A single reference to act, scene, and line has usually been deemed sufficient, except in the case of words rare or of doubtful meaning, where every occurrence has been recorded. When a word now in good use has been employed by Jonson in an obsolete or rare sense, and again in a modern sense, the Glossary usually cites only the unfamiliar usage. Etymologies have in general been given only for one of two objects: 1) to call attention to Jonson's habit of using words of Latin origin in their original sense; 2) to show ground for peculiar interpretation. Verbs have been distinguished as transitive or intransitive only in special cases.
A dagger preceding a word indicates that the word is obsolete; preceding a definition, that the word is obsolete in the particular sense required. Parallel lines before a word show that it has never become naturalized in English. Other signs and abbreviations are those common in the dictionaries.
The words disgorged by Crispinus-Marston in Act 5, being fully discussed in the notes, are here indicated by asterisks.
Accommodate, v. iTo fit, or TA', pron. He. 3. 2. 19; 3. 4. 102.
make acceptable, to. (An obs. and TA', prep. Of. 1. I. 14.
rare constr. is to accommodate a Abated, pp. [a. OF. abatre, thing to a person. NED.) 3.4. 303. abattre to overthrow, f. a to, battre
Accost, v. To approach, draw to beat.) † Subdued; put an end to.
near to. Arch. 2. 2. 91. Cf. note.
Action, n. I) A hostile engageAbiect, n. ŤA base, degraded, or ment; fight. 3. 4. 109. worthless thing. 1. 3. 59.
2) †Acting of plays. 3. 4. 211.
3) (a) General conduct; (b) Absolue, v. (ad. Lat. absolvere
acting. 1. 2. 62. to loosen, free.) †To clear off or
tAdmirable, adv. Wonderfully; discharge liabilities. 3. 4. 70.
remarkably. 3. 4. 260. Abstracted, pp. adj. †Abstruse; Admir'd, pp. adj. Wondered at. difficult. A.D. 194.
Arch. 5. I. 138. Acceptiue, adj. +Willing to re- Admittance, n. † Admission, in ceive or accept. 3. 4. 95.
the sense of concession. 4. 8. 29.
5. 3. 627.
Aduance, v. To raise, exalt in
tApt, v. [ad. Lat. aptus, fitted, f. rank or reputation. Arch. 5. 1. 53; apere, to fasten, attach.] 5. 3. 317.
I) To prompt; direct. 1. 2. 107. +Affect, n. Affection. 4. 9. 19. 2) To incline; dispose (to).
Affect, v. I) To like; show A.D. 204. preference for. Arch. 3. I. 55; 5. Arch, n. A style of head-dress. 3. 341.
3. I. 56. 2) †To effect; obtain. R. II. Argue, v. tr. †To accuse. 3) a) †Aspire to; (b) assume. Arme-hole, The arm-pit.
Obs. or arch. 3. 4. 388. Affected, pp. Disposed, inclined. Armorie, n. Armor collectively; 3. I. 124.
weapons. Arch. 4. 4. 46. Affright, v. To frighten. Arch.
†Arse, n. The buttocks. 4. 7. 3. 5. 85. Aforehand, adv. Previously
As, pron. Which. A.D. 217. Arch. and dial. 1. 2. 23.
As, conj. As if;
as though. After, adv. Afterward. 1. 3. 6.
Arch. 3. 5. 42; 5. 1. 64. After, prep. Like; in the man
As, conj. adv. † That. A.D. 13, ner of. 5. I. 79.
130. Agnomination, (Lat.
Aspire, v. 1) intr. To rise like nomen, a second cognomen.] Al
an exhalation; to mount heavenlusion through one word to another.
ward. 1. 1. 2; 1. 1. 88. (Cf. agnominate, to nickname.) 3.
2) tr. †To mount up to; reach, I. 97. Aire, n. fA sprightly song? 2.
attain. 3. 5. 30. 2. 207.
Assai'd, pp. ^ Ventured, dared All and some, n. phr. Each (with inf.). 3. 5. 76. member of the whole. Arch. Attend, v. 1) †To await; look 5. 3. 301.
for (a person). I. 2. 159, et passim. ||Altitonans, adj. [Lat., thunder- 2) To listen to. Arch. 2. 2. 188. ing from on high.] An epithet of Autenticall, adj. (Obs. form of Jupiter. 4. 5. 217.
Authentical.) Trustworthy; deAmbrosiack, adj. Ambrosial.
serving of respect. Arch. 4. 9. 29. 4. 5. 203.
Auoid, v. †To send away; †An, conj. (A shortened form
pel. 5. 3. 20. of And=if.) If. 3. 4. 52.
Award, v. †To sentence (to do, #And, conj. If.
I. 35, et passim.
or to suffer, something). 5. 3. 593. Anon, adv. tImmediately. I. 3.
Away, adv. Phr., Away with: 60, et passim.
to tolerate, endure. Arch. 3. 4. Approue, v. 1) †To prove. 5.
296. I. 116.
Ay, interj. Phr., Ay me! Alas! 2) †Phr., Approue in: to concur Ah me! Arch. 4. 9. 48; 95. (Cf. in, approve of. 2. 2. 9.
Glossary, s. v. I, and Notes, E. 3.)
Bastoun, n. Baston or baton, a Back-face, n. A face looking cudgel or club. 5. 3. 624. Cf. note. backward: e. g., of Janus, the face
Bawd, n. In general sense, a gothought of as turned backward or between, pander. 4. 3. 117. away. Nonce word? 1. 2. 147.
Be, v. pl. Are. Obs. exc. dial. Back-side, n. + The rear of a
4. 2. I; 5. 3. 400. dwelling. 2. 1. 13.
Because, conj. †In order that;
Behauiours, n. pl. Deportment.
2. 1. 167. 228.
+Beholding, adj. Under obliga
tion, indebted. I. 2. 162. Balsamum, n. 1) Balsam, a val
Belike, adv. Probably; possibly. 2. I. 60.
Arch. or dial. 1. 2. 187. 2) A term of endearment.
†Bescumber, v. To void excre72. Band, n. A neckband, or collar. ment upon. 5. 3. 314.
+Bespawle, v. 5. 3. 197. Cf. note.
To bespatter with
saliva. 5. 3. 297. Ban-dog, n. A dog needing to
+Best-best, adj. Superlatively be chained up; a watch-dog. Often
excellent. 5. 3. 473. applied, as here, to the sergeants of
*Better cheape, adv. phr. At a the Counter, or debtors' prison.
lower price. This expression is 3. 4. 4. Cf. note.
built upon the obs. Cheap, Bane, n. Fatal mischief;
meaning originally 'bargaining, Now poet. 5. 2. 68.
barter,' etc. Good cheap therefore || Barathrum, n. (Lat., adapted from Gr. Bápa&pov.] A pit or gulf. low price. 1. 2. 209.
means 'on advantageous terms, at a 3. 4. 298. Cf. note.
Betwixt, prep. Between. Arch. Barmy, adj. Full of barm, or and poet. 2. I. 59. froth. (Phr., Barmy-froth.) 5. 3.
Bin, pp. ŤObs. form of been. 5. 294, 511, 515. Cf. note.
3. 376. Base, n. A plaited skirt, of cloth,
Blaunch't, pp. adj. Obs. form of velvet, or rich brocade, appended to Blanched. 4. 8. 17. the doublet, and reaching from the Blaz’d, PA. +Described, porwaist to the knee, common in the trayed—as if heraldically blazoned. Tudor period. NED. 3. 1. 74.
5. 3. 363. Base, adj. 1) Low in the social Blazond, pp. Blazoned; clearly scale; plebeian. Arch. 3. 4. 110? painted or described. 1. 2. 57. 4. 5. 20; 4. 7. 42 (this in both
Block, n. Orig. a form or mould senses).
for shaping a hat; here = kind, 2) Low in the moral scale. Pas- style. Arch. 4. 5. 158. Cf. note. sim.
Bodies, n. pl. (The 16th and Bastinado, v. To beat,
To beat, as with 17th cent. spelling of Bodice.) Fora stick. Arch. 5. 3. 400.
merly. An inner garment for the