any thing so overdone is from the purpose of playing, whose end, both at first and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her own feature, scorn her own mage, and the very age and body of the time his form and pressure.' Cf. Sidney, Def. Poesy, ed. Cook, note on 28. 24.

2. Ch. 36. drawne for my delight, or profit. This is another classical canon of criticism which Jonson emphasizes: Cf. Every Man Out (Wks. 2. 20):

Asp. Why, therein I commend your careful thoughts,
And I will mix with you in industry

To please but whom? attentive auditors,
Such as will join their profit with their pleasure.

The Fox (Wks. 3. 163-4):

This we were bid to credit from our poet,
Whose true scope, if you would know it,
In all his poems still hath been this measure,
To mix profit with your pleasure.

The Silent Woman (Wks. 3. 332):

The ends of all, who for the scene do write,
Are, or should be, to profit and delight.

The Alchemist (Wks. 4. 10):

Though this pen
Did never aim to grieve, but better men:
Howe'er the age he lives in doth endure
The vices that she breeds, above their cure.
But when the wholesome remedies are sweet,
And in their working gain and profit meet,
He hopes to find no spirit so much diseased,
But will with such fair correctives be pleased.

The Staple of News (Wks. 5. 291):

Thus have you seen the maker's double scope,
To profit and delight.

Horace, De Arte Poetica 326–7:

Aut prodesse volunt, aut delectare poetae,
Aut simul et jucunda, et idonea dicere vitae.

Jonson's translation (Wks. 9. 105) :

Poets would either profit or delight;

Or mixing sweet and fit, teach life the right.

De Arte Poetica 343-4:

Omne tulit punctum qui miscuit utile dulci,
Lectorem delectando, pariterque monendo.

Jonson's translation (Wks. 9. 107) :

But he hath every suffrage, can apply
Sweet mixt with sour to his reader, so
As doctrine and delight together go.

2. Ch. 45. no Barbers art, or his bals. Soap at this time was molded into this shape; see The Gipsies Metamorphosed (Wks. 7.406):

An ointment . . . yet without spells,
By a mere barber, and no magic else,

It was fetch'd off with water and a ball.

Marston, The Dutch Courtezan 3.3: A ball to scour -a scouring ball-a ball to be shaved!' Dekker, The Seven Deadly Sinnes (Wks. 1. 62): 'O you that bandie away none but sweete washing Balles, and cast none other then Rosewaters for any mans pleasure.'

2. Ch. 53. my eighteene pence, or two shillings for my Seat. This gives some idea of the prices of seats in Jonson's time; but a more complete enumeration of prices is found in the induction to Bartholomew Fair (Wks. 4. 347): 'It shall be lawful for any man to judge his sixpen' worth, his twelve-pen' worth, so to his eighteenpence, two shillings, half a crown, to the value of his place.' Traill (Social England 3. 569) says: 'In Elizabeth's reign prices varied from a penny to a shilling; in the next reign they rose. Two penny rooms or boxes and the twopenny gallery are often mentioned, but sixpence seems to have been the most usual fee. The St. Paul's private theatre had no seats at less than fourpence, and its audience was more select.' In Rye's England, as seen by Foreigners in the Days of Elizabeth and James the First, p. 88, Samuel Kiechel

observed, 1585: ' It may indeed happen... that the players take from fifty to sixty dollars [£10 to £12] at a time, particularly if they act anything new, when people have to pay double. And . . . they perform nearly every day in the week; notwithstanding plays are forbidden on Friday and Saturday, this prohibition is not observed.'

2. Ch. 57. And teach others (about you) to doe the like, that follow your leading face. Cf. Bartholomew Fair (Wks. 4. 347) : 'It is also agreed, that every man here exercise his own judgment, and not censure by contagion, or upon trust, from another's voice or face, that sits by him, be he never so first in the commission of wit.' See also Every Man Out (Wks. 2. 19); The Staple of News (Wks. 5. 257); and The Case is Altered (Wks. 6. 339–40).

2. Ch. 63. the Beares. Bear-baiting was, it is said, introduced into England in the reign of King John by a band of Italians. . . . It was in great vogue under the Tudors. Bearwards, in the days of Elizabeth, were the appanages of great nobles, and the bears themselves were public characters. ... The Queen herself was a great connoisseur in the sport; so much so, that she deprecated the competition of the playhouses, and issued orders from the Privy Council forbidding the acting of plays on Thursdays, the chosen day for the bearbaitings at Bankside. . . . These were the palmy days of the sport; under the Stuarts it suffered a distinct loss of caste, and by the time Anne came to the throne both bear and bull baiting had declined into low forms of entertainment, much loved by butchers and draymen, but still patronized more or less furtively at Hockley by persons of high station. Bull and bear baiting had a legal status until 1835, when a career of the sport during nearly seven centuries of English life was closed by an Act of Parliament.'-Boulton, The Amusements of Old London 1. 5, 33.

...

For further information, see Boulton I. 5-34; Strutt, Sports and Pastimes, pp. 257-8; Wheatley and Cunningham, London Past and Present 1. 137-9.

2. Ch. 63. the Puppets. The puppet-shows, or 'motions,' existed as far back as 1517, for they were mentioned in

Gammer Gurton's Needle. They usually made their appearance at great fairs; a characteristic 'motion' in its coarseness of speech and acting, its horse-play and beating, is found in Jonson's Bartholomew Fair; see Introduction to Alden's ed., pp. XVI-XVIII, for analysis of this, and discussion of parallels. For further information, see Boulton, The Amusements of Old London 2. 224-7; Strutt, Sports and Pastimes 165-8; and Charles Magnin, Histoire des Marionnettes en Europe. Considering Jonson's high and uncompromising ideals of art, one can understand his repugnance to bear-baiting and the puppet-shows.

3. I. I. The accent may be on the second syllable of Mister (see Abbott, § 490).

Here's Mister Doc | tor? Ó | Mister | Tim Ítem.

3. I. 3. Death! Death! This is an imprecation. The original expression was God's death, which became abbreviated to Sdeath, later to death.

3. I. II. furnish forth the Table with your newes. It must have been something of a custom for hungry adventurers to earn a meal by relating sensational news, for Jonson satirized the practice elsewhere: see To Captain Hungry, Epigrams (Wks. 8. 209); and Underwoods LXV (Wks. 8. 417).

3. I. 14. But they are piec'd. For another example of piece, to re-unite a broken friendship, see The Devil is an Ass (Wks. 5. 96): 'Now, I protest; and I will have all pieced, and friends again.'

3. 1. 18. Hee hath begun three draughts of sack in Doc

trines,

And fower in Uses.

Needle adopts the language of the puritans in this place. In preaching, they divided their discourses into doctrine and use, meaning by the former the subject under explanation, and by the latter the practical inference to be derived from it. Hudibras has the words frequently in his mouth :

Thou canst, in conscience, not refuse,
From thy own doctrine to raise use.

Again :

in a town

There lived a cobler, and but one,

Who out of doctrine could cut use,

And mend men's lives as well as shoes.'-G.

3. 1. 23. a moneths mind. This expression has two widely different meanings. 1.' Eccl. 1. Eccl. In England before the Reformation, and still in Ireland among Roman Catholics: The commemoration of a deceased person by the celebration of masses, etc., on a day one month from the date of his death.' 2. An inclination, a fancy, a liking. To be in a month's mind, to have a strong expectation.' NED.

Nares gives as the more common use, an eager desire or longing, and refers in explanation to the conjecture of John Croft, who published a few detached remarks upon Shakespeare. 'He explains it to allude to "a woman's longing; which " he says " usually takes place (or commences, at least) in the first month of pregnancy." Rem., p. 2. Unfortunately he gives no authority for it, and I have endeavored in vain to find it, in that mode of application. Yet it accords so perfectly with this second sense, that I have no doubt of its being the true explanation. It is in this latter sense it is used by Shakespeare in the Two Gentlemen of Verona : I see you have a month's mind to them. Act 1, sc. 2.

So also in Hall:

And sets a month's mind upon smiling May. Satires, B. IV, s. 4. Fuller also has it:

The king (Henry VII) had more than a moneth's mind, (keeping 7 yeares in that humour) to procure the pope to canonize Henry VI for a saint. Church Hist., B. IV, 23.

And Hudibras :

For if a trumpet sound, or drum beat,

Who hath not a month's mind to combat. P. 1. Cant, ii,

Now what possible connection can any of these have with the celebration of the dead? To give a ludicrous sense to a combination common on more solemn occasions, might have been one inducement to adopt the latter phrase; but it must