Ind 31. like so many eminences. Cf. Dekker's The Gul's Hornbook (ed. McKerrow, chap. 6, p. 50): ' For do but cast up a reckoning, what large comings-in are pursed up by sitting on the stage. First, a conspicuous eminence is gotten; by which means, the best and most essential parts of a gallant, good clothes, a proportionable leg, white hand, the Persian lock, and a tolerable beard, are perfectly revealed.'

Ind. 32. Of clothes, not understandings ? Throughout his works Jonson satirized the class of people who came to plays to see and be seen, but not to listen intelligently. Fitzdottrell, in The Devil is an Ass (Wks. 5. 27-8), is a good example of the type:

Here is a cloke cost fifty pound, wife,

Which I can sell for thirty, when I have seen
All London in't, and London has seen me.
To-day I go to the Blackfriars play house,
Sit in the view, salute all my acquaintance,
Rise up between the acts, let fall my cloke,
Publish a handsome man, and a rich suit,
As that's a special end why we go thither.

For other examples, see To Mr. John Fletcher, upon his Faith-
ful Shepherdess: Underwoods (Wks. 8. 324); Jonson's Ode to
Himself (Tennant's ed. of The New Inn, p. 118); The Magnetic
Lady, 1. Ch. 41-49.

Ind. 38. Populo ut placerent. Prologue to Terence's Andria, line 3.

Ind. 49. and will have the conscience, and ingenuity beside, to confesse it. Cf. Induction to Bartholomew Fair (Wks. 4. 347) The author promiseth to present them by us, with a new sufficient play, called Bartholomew Fair, merry, and as full of noise, as sport: made to delight all and offend none; provided they have either the wit or the honesty to think well of themselves.'

Ind. 61. Every Poet writes Squire now. This apparently refers to the growing claim on the part of playwrights and poets to be enrolled among the gentry; see the note to I. 5. 39, and cf. the title-page to The Two Noble Kinsmen: ' Written by the memorable Worthies of their time;

Cf. also the title-page to the second edition of Cupid's Revenge :

Ind. 70. Of his portall, or entry to the worke, according to Vitruvius. A discussion Of the Proportions of the Doors of Temples is found in chap. 6. p. 115, of Joseph Gwilt's translation of the De Architectura.

Ind. 72. without a Portall-or Vitruvius. The boy, who knows nothing of Vitruvius, merely repeats the terms of the preceding speech.-G.

Marcus Vitruvius Pollio was a Roman architect and engineer. From information gathered from his writings, he is supposed to have lived during the age of Julius Cæsar and the reign of Augustus. He was the author of a celebrated work on architecture, De Architectura; see Encyl. Brit., IIth ed., Vol. 28: From the early Renaissance down to a comparatively recent time the influence of this treatise has been remarkably great. Throughout the period of the classical revival Vitruvius was the chief authority studied by architects, and in every point his precepts were accepted as final. ... Bramante, Michelangelo, Palladio, Vignola and earlier architects were careful students of the work of Vitruvius, which through them has largely influenced the architecture of almost all European countries.' Jonson satirized the architect, Inigo Jones, under the title, Vitruvius Hoop (A Tale of A Tub), and as Coronal Vitruvius (Entertainment at Bolsover).

Ind. 73. In Foro. In court; in the open. Jonson used this phrase in The New Inn (Wks. 5. 349):

Your lordship needs not, and being done in foro.

Ind. 73.

And what is conceald within, is brought out, and made present by report. That part of the plot or action of

the play which is not represented dramatically is represented
by narrative. Jonson insists that a play should be presented
to an audience as a comprehensible unity. See Schelling's
edition of Timber (XXXV, and pp. 85-7). In this respect
Jonson's practice differs from that of Beaumont and Fletcher,
in whose plays the leading personages often change character
off the stage. See Thorndike, The Influence of Beaumont
and Fletcher upon Shakespeare, pp. 119-21. The relation
between action and narrative in plays is discussed in Horace,
De Arte Poetica. See Jonson's translation of the Art of
Of
Poetry (Wks. 9. 93):

The business either on the stage is done,
Or acted told. But ever things that run
In at the ear, do stir the mind more slow
Than those the faithful eyes take in by show,
And the beholder to himself doth render.
Yet to the stage at all thou may'st not tender
Things worthy to be done within, but take

Much from the sight, which fair report will make
Present anon.

The same point is discussed in Sidney's Defense of Poesy (see Cook's edition, p. 49): Again, many things may be told which cannot be showed,-if they know the difference betwixt reporting and representing. As for example I may speak, though I am here, of Peru, and in speech digrees from that to the description of Calicut . . . And so was the manner the ancients took, by some Nuntius to recount things done in former time or other place.'

Ind. 78. The most of those your people call Authors, never dreamt of any Decorum. See Glossary, s. v. Decorum. In the Induction to Bartholomew Fair (Wks. 4. 353-4), Jonson employs this term: 'And though the Fair be not kept in the same region that some here, perhaps, would have it; yet think, that therein the author hath observed a special decorum, the place being as dirty as Smithfield, and as stinking every whit.' The term decorum is probably the one which most nearly sums up the doctrine of the classical school of criticism-Aristotle, Horace, the Italians, Sidney, etc. For Jonson's criticism,

and his relation to Sidney and the Italians, see Spingarn, Critical Essays of the Seventeenth Century, Vol. 1, Introduction, pp. IX-XXI, and pp. 10-64.

Ind. 86-90. The last. The Magnetic Lady appears as the last of a list of humor-plays: Every Man In (1598); Every Man Out (1599); Cynthia's Revels (1600); The Poetaster (1601); The Fox (1605); The Silent Woman (1609); The Alchemist (1610); Bartholomew Fair (1614); The Devil is an Ass (1616); The Staple of News (1626); The New Inn (1629).

Ind. 95. hee makes that his Center attractive. Lady Loadstone is but slightly characterized. Her function in the play is to bring together the interesting characters. Her attractive qualities are her hospitality and her guardianship over her wealthy and marriageable niece. The name Loadstone suggests the use of the term in The Alchemist (Wks. 4. 40):

Beneath your threshold, bury me a load-stone
To draw in gallants that wear spurs.

Later, in John Earle's Microcosmography (pub. 1628), the character of A Handsome Hostess is very similar to Jonson's Magnetic Lady: 'A handsome hostess is the fairer commendation of an inn, above the fair sign, or fair lodgings. She is the loadstone that attracts men of iron, gallants and roarers, where they cleave sometimes long, and are easily got off.'

Ind. 106. Hee will not woo the gentile ignorance so much. Gifford notes that this passage resembles one of Aristophanes in The Clouds (560-2):

Ὅστις οὖν τούτοισι γελᾷ, τοῖς ἐμοῖς μὴ χαιρέτω·
Ἢν δ' ἐμοὶ καὶ τοῖσιν ἐμοῖς εὐφραίνησαν εὑρήμασιν,
Ἐς τὰς ὥρας τὰς ἑτέρας ευ φρονεῖν δοκήσετε.

Ind. 108. it shall super-please judicious Spectators. Reflections of this nature abound in Jonson's prologues and epilogues; and explain why he had 'lost too much that way.' Cf. The Poetaster, Apologetical Dialogue (Wks. 2. 250):

If I prove the pleasure but of one,
So he judicious be, he shall be alone
A theatre unto me.

Cf. also Hamlet (3. 2): Now this overdone, or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve; the censure of the which one, must, in your allowance, o'er-weigh a whole theatre of others.' For similar passages in Jonson's works, see Every Man In (Wks. 2. 14-20); Underwoods XXII (Wks. 8. 336); The Magnetic Lady, Act 1, Chorus; Explorata LXIX (Wks. 9. 153); The Staple of News (Wks. 5. 158).

Ind. 115. Fly everything (you see) to the marke. This is an expression borrowed from the language of hawking. It means: Attack everything you see as quarry. See Glossary, and cf. Bartholomew Fair (Wks. 4. 395):

Edg. And in your singing, you must use your hawk's eye nimbly, and fly the purse to a mark still,—

Ind. 118. Dictamen. See Glossary.

term in The New Inn (Wks. 5. 355):

use his own

Jonson used this

Dictamen, and his genius; I would have him

Fly high, and strike at all.

Ind. 119. A good Play, is like a skeene of silke. Jonson used this figure before, comparing a skein of silk to something excellent; see The New Inn (Wks. 5. 385):

Lov. It was a beauty that I saw
A skein of silk without a knot,

...

I. I. 4. Lady Loadstones (one will bid us welcome). The relative pronoun is frequently omitted, often where the antecedent immediately precedes the verb to which the relative would be the subject (see Abbott, Shakespearian Grammar, § 244). For other examples of the construction in this play, see 1. 3. 26; 1. 6. 16; 2. 3. 20; 2. 3. 70; 2. 6. 130; 3. 3. 122; 3. 5. 49 ; 3. 5. 107 ; 4. 3. 7 ; 4. 5. 21 ; 4. 8. 9 ; 4. 8. 12; 4. 8. 86; 5. 10. 41.

I. I. 19. Why Ironside, you know I am a Scholler. Here Jonson, as is not unfrequently his custom, speaks of himself through the mouth of Compass.'-C.

I. I. 28. The line may be scanned as follows: