writes (Fam. II. 1): 'That strange fellow Demetrius was always, I know, the very reverse of his namesake [a celebrated orator, fl. 300 B. C.], of Phaleris; but I find he is now grown more insufferable than ever, and is degenerated into an arrant Bilienus.' [Bilienus is unknown.] Whether Horace and Cicero had in mind the same original is immaterial, the point for us being that Demetrius as he figured in classical literature was plainly enough an ass to satisfy Jonson's requirements in Poetaster.

The Demetrius of Poetaster is a malicious rascal, with no claim to poetic gifts, scholarship, or social rank. He is sadly in need of a new suit (3. 4. 337, 361-3; 4. 3. 130-1); he is not an original dramatist so much as a mere 'playdresser,' one who makes over the works of others (3. 4. 339); he is impudent and spiteful by nature (3. 4. 353–8) ; he has been hired by Histrio's company (not, be it observed, by Crispinus) to abuse Horace in a play (3. 4. 339–342); he is indicted as 'play-dresser and plagiary' (5. 3. 226-7); he does not himself understand the classical authors from whom he accuses Horace of stealing (5. 3. 321-3); he maligns Horace (5. 3. 231-240), and is condemned therefore to wear a jester's coat and cap (5. 3. 598–9); he shares with Crispinus the name of 'untrusser' or 'whipper of the age' (5. 3. 627-8).

Recent critics all agree with Gifford in his identification of Demetrius with Dekker; as has been shown above (pp. xliii-xliv), Dekker himself in Satiromastix (pp. 195–9) is at once our earliest and our final authority upon this point. But the further identification of Demetrius-Dekker with Anaides of Cynthia's Revels and Carlo Buffone of Every Man Out has been attempted. Fleay says (Chr. 1. 363-9): "The description of Demetrius as a rank slanderer, &c., is conclusive as to his identity with Buffone and Anaides.' And again (Chr. 1. 369): 'Finally, note that Demetrius as much as Crispinus affected the title of Untrusser, neglect of which fact has lead to the common mistake [made by Fleay,

Chr. 1. 97] in making Marston Carlo Buffone.' His last remark is in allusion to Every Man Out 2. 1, where Puntarvolo calls Carlo Buffone 'thou Grand Scourge, or Second Untruss of the time.' This was formerly thought to identify Carlo with Marston, whose Scourge of Villainy had appeared in September 1598. Dissent from the identification of Dekker with Anaides and Buffone is expressed by J. H. Penniman, who asserts (War of the Theatres 46 note; cf. also 113-4) that Jonson's first attack on Dekker was that made in Poetaster after it had become known that Dekker was writing Satiromastix. Of the characterization of Hedon and Anaides in Cynthia's Revels 3. 2, he says confidently (ibid. 80): 'Dekker quotes these lines in Satiromastix as if they referred to Crispinus (Marston) and Demetrius (Dekker). As no attack on Dekker had been made in Cynthia's Revels, he appropriated to himself lines which referred to another of Jonson's enemies.' Penniman identifies Anaides with Marston (46 note), and Hedon with the poet Daniel (81). But the plain meaning of the passage in Satiromastix (Dekker's Dram. Works 1. 195) is that Hedon = Crispinus Marston, and that Anaides Demetrius =

Dekker, and it would take a good deal of 'proof' such as Penniman adduces to convince us that Dekker was not acute enough to discover and state the facts in this instance. The whole matter has been completely threshed out by Small in his Stage-Quarrel, and there can no longer be any doubt in a candid mind that Dekker was right in this identification. Only a brief discussion, therefore, is necessary here.

It is quite true, as Penniman says, that in August and September of 1599 Jonson was writing plays with Dekker: note the payments by Henslowe (Diary 155-6) to Jonson, Dekker, and others for the Page of Plymouth, and Robert the Second, King of Scots' Tragedy. But Penniman's further assertion that Jonson first attacked Dekker in Poetaster (written in the summer of 1601), and then only

as an afterthought, does not follow from the facts above stated. In the winter of 1600-1601, more than a year after the recorded collaboration with Dekker, Jonson produced Cynthia's Revels. Penniman's identifications - 'Carlo = Anaides Marston' (ibid. 46 note), and Master Mathew (Every Man In) Fastidious Brisk Hedon Samuel Daniel (ibid. 18-19)-have obliged him to argue that Jonson's relations with Dekker were quite amicable between the summer of 1599 and the summer of 1601. Of this, however, he can offer no proofs, and doubtless the real situation, however brought about, was that by the time. Cynthia's Revels was under way Jonson's spleen had been roused against Dekker, and that the latter was therefore represented in the play as Anaides. Penniman implies that there was no cause for an attack by Jonson upon Dekker previous to the undertaking of Satiromastix. If such were the case, the fair inference would be that Dekker made a most acrimonious assault upon Jonson, hitherto supposedly his friend, for no reason except that he might win the probably less valuable good-will of Marston and the money offered by the players, who had their own reasons for hating Jonson. Several facts make such a wanton attack improbable: 1) Jonson, as Drummond later found, was 'jealous [pace Gifford] of every word and action of those about him,' 'passionately kynde and angry' (Conversations p. 40), and thus more likely than Dekker to take offence; 2) thanks to his amazing fertility of invention and rapidity of production, Dekker had no need of Jonson as a subject in order to make a play and find sale for it; 3) there is far more bitterness in Satiromastix than would be natural if Dekker were writing purely for hire, or for hire and the sake of replying to the attack upon himself as Demetrius in Poetaster only; 4) Dekker explicitly refers to Cynthia's Revels, and assumes that the characterization of Hedon and Anaides was directed against Marston and himself; and, finally, 5) it has been demonstrated by Small (Stage-Quarrel

passim) that Anaides is not Marston, and that Hedon is not Daniel-as Penniman believes.

=

In the Character of the Persons and the Induction of Every Man Out, Carlo Buffone is described as epicure, parasite, and back-biter. In 2. 1, Puntarvolo addresses him : How dost thou, thou Grand Scourge or Second Untruss of the time?" Now Fleay identified Buffone as well as Anaides with Dekker (Chr. 1. 368-9); though later he came to agree with Penniman (War of the Theatres 46 note): '. You are right, Carlo Anaides = Marston Second Untruss.' But that Carlo Buffone was not understood by Dekker himself to represent either Marston or Dekker, while he may still have represented some real character, appears from Satiromastix (p. 263): 'Sir Vaughan [to Horace-Jonson] 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 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.' It is inconceivable that Dekker should threaten Horace with the punishment of sitting next to Carlo Buffone, if he knew Carlo to have been originally created by Jonson to caricature either Dekker or Marston, and likewise inconceivable that Carlo could have been so intended by Jonson and Dekker not know it. As to the allusion in Puntarvolo's speech, I quote Small (StageQuarrel 35-6): "The fact that Puntarvolo calls Carlo "Thou Grand Scourge or Second Untruss of the time" (ii, I, p. 154) [Mermaid edition]-the fact on which alone rests Penniman's whole argument that Carlo is Marston-does not make in the least against my assertion; for the passage, which is clearly a jocose allusion to Marston's Scourge of Villany, means no more than "thou railer, thou satirist, thou second Marston." In exactly the same way, Marston,

in What You Will ii, 1, 134, makes Quadratus call Lampatho (whom I shall clearly prove to be meant for Jonson) "you Don Kynsader", using as equivalent to "satirist" the nom de guerre over which he himself had issued his satires.' Small goes on to quote with approval the opinion of Aubrey (Lives 2. 514) that Carlo Buffone was really modelled upon one Charles Chester, an impudent sponge who came to grief at the hands of Sir Walter Raleigh.

As for Anaides, we quote in part his characterization by Mercury in Cynthia's Revels 2. 1: ''Tis Impudence itself, Anaides; one that speaks all that comes in his cheeks, and will blush no more than a sackbut. He lightly occupies the jester's room at the table, and keeps laughter, Gelaia, a wench in page's attire, following him in place of a squire, whom he now and then tickles with some strange ridiculous stuff, uttered as his land came to him, by chance. He will censure or discourse of anything, but as absurdly as you would wish. His fashion is not to take knowledge of him that is beneath him in clothes. He never drinks below the salt. He does naturally admire his wit that wears gold lace or tissue; stabs any man that speaks more contemptibly of the scholar than he. He is a great proficient in all the illiberal sciences, as cheating, drinking, swaggering, whoring and such like; never kneels but to pledge healths, nor prays but for a pipe of pudding-tobacco.' The portrait of Demetrius in Poetaster is not flattering, yet is mild compared with this caricature; it is not hard, therefore, to see the real animus of Satiromastix.

To repeat it seems certain that Hedon and Crispinus are meant for Marston; Anaides and Demetrius for Dekker; while the various identifications of Fastidious Brisk and Carlo Buffone are not proved.

Gallus. C. Cornelius Gallus was born in Gaul, of poor parents, about B. C. 66. At twenty he had begun his career as poet in Italy. Upon the death of Caesar, Gallus attached